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The 'invisible masterpiece' is an unattainable ideal, a work into which a dream of absolute art is incorporated but can never be realized. By means of this metaphor borrowed from Balzac, Hans Belting shows the variety of ways in which the status and meaning of the masterpiece have been elevated and denigrated since the early nineteenth century. The history of the masterpiece coincided with the history of the public museum. Leonardo's Mona Lisa and other celebrated paintings preoccupied later artists, who felt burdened by the one-time cult of the masterpiece as it had been transformed into the cult of visible works of art. Following Duchamp, artists became increasingly resistant to the notion of the masterpiece. Beginning in the 1960s, Conceptual and Minimal artists concentrated on ephemeral forms and manufactured multiple copies in order to reject the outmoded status of the one-off masterpiece and the art market that fed off it. The Invisible Masterpiecereveals works, events and individuals in the history of Western art in a wholly novel way.
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This bilingual edition, based on a reexamination of the Old French manuscript, makes Silence available to specialists and students in various fields of literature, to those in women's studies and, most important, to everyone who loves a first-rate story.
A critical look at the Chavez regime from a leftist Venezuelan perspective, this account debunks claims made by Venezuelan and U.S. rightists that the regime is antidemocratic and dictatorial. Instead, the book argues that the Chavez government is one of a long line of Latin American populist organizations that have been ultimately subservient to the United States as well as multinational corporations. Explaining how autonomous Venezuelan social, labor, and environmental movements have been systematically disempowered by the Chavez regime, this analysis contends that these movements are the basis of a truly democratic, revolutionary alternative.
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