Modern Art 1851-1929

<br>"Uniquely valuable...a magisterial survey of the cultural, economic, and historical conditions in which modern art flourished."--Stephen Eisenman, Northwestern University<p><br>"Very refreshing and original....The visual range--Czech and Canadian, Finnish and French--wrenches our tired assumptions about pictorial modernism into vivid new perspectives."--Richard Thomson, Edinburgh University<p><br>"A history of modern art of the highest quality, informative and enthusiastic."--Fran oise Cachin, Directeur des Mus es de France<p><br>"Lushly illustrated and laced with insightful captions, the images showcase a large cross-section of masters, including many works from the former Eastern bloc never before seen.... This addition to the Oxford series brings a freshly chivalrous account of modern art."--Foreword<p><br>"Written with an almost manic verve and fluency and an enviable command of many distant crevice in its panoramic subject matter.... A reordering of the global potential of mod

<br>Richard R. Brettell, formerly Director of the Dallas Museum, is currently an independent consultant to museums around the world.<br>

Introduction: The Great Exhibition of 1851, London. (Paris: the capital of modern art; New technology; The beginnings of modern art); Part I: Realism to Surrealism. (Realism; Impressionism; Symbolism; Post-Impressionism; Neo-Impressionism; Synthetism; The Nabis; The Fauves; Expressionism; Cubism; Futurism; Orphism; Vorticism; Suprematism/ Constructivism; Neo-Plasticism; Dada; Purism; Surrealism; The '-ism' problem); Part II: The Conditions for Modern Art; Chapter 1. Urban Capitalism. (Paris and the birth of the modern city; Capitalist society; The commodification of art; The modern condition); Chapter 2. Modernity, Representation, and the Accessible Image. (The art museum; Temporary exhibitions; Lithography; Photography; Conclusion); Part III: The Artist's Response; Chapter 3. Representation, Vision, and 'Reality': The Art of Seeing. (The human eye; Transparency and unmediated modernism; Surface fetishism and unmediated modernism; Photography and unmediated modernism; Beyond the oil sketch; Cubism); Chapter 4. Image/Modernism and the Graphic Traffic. (The Pre-Raphaelite brotherhood; Puvis de Chavannes and Gustave Moreau: Image/Modernism outside the Avant-Garde; Image/Modernism outside France; Exhibitions of the Avant-Garde; Fragmentation, dislocation, and recombination); Part IV Iconology; Introduction; Chapter 5. Sexuality and the Body. (Manet's bodies; Modern art and pornography; The nude and the modernist cycle of life; The bathing nude; The allegorical or non-sexual nude; Colonialism and the nude: the troubled case of Gauguin; The bride stripped bare; Body parts and fragments); Chapter 6. Social Class and Class Consciousness. (Seurat and Sunday on the Grande Jatte, 1884; Class issues in Modernist culture; Portraiture; Images of peasantry; The worker and modern art); Chapter 7. Anti-Iconography: Art Without 'Subject'. (Landscape painting; Text and image; Abstraction); Chapter 8. Nationalism and Internationalism in Modern Art. (National identity; Time and place; Abstract art, spiritualism, and internationalism; Nationalist landscape painting); Afterword: The Private Institutionalization of Modern Art; Notes; List of Illustrations; Bibliographic Essay; Timeline; Index