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Manet's Modernism
"Fried put forward a highly original, beholder-centered account of the evolution of a central tradition in French painting from Chardin to Courbet."--P. [4] of cover.
Degas and the Business of Art
While it received a more positive response than other works exhibited, its success was with the conservative audience. After considerable difficulty, Degas finally succeeded in selling the painting in 1878 to the newly founded museum in the city of Pau. The painting was probably regarded as an appropriate homage to the old textile manufacturing family who funded its purchase. It also appealed to "progressive" provincial and more cosmopolitan audiences in Pau. The picture's scattered form and atomized figures - in which some interpreters today read evidence of the artist's own ambivalence about capitalism - seemingly contributed to its "innovative" cachet in Pau. But the private and public meanings of the painting had shifted, in discontinuous fashion, between its production and consumption. Under the circumstances, Degas's unfixed and even mixed messages about business became, among other things, his most successful (if unwitting) marketing strategy.
Representing the Black Female Subject in Western Art
Charmaine A. Nelson analyzes not only how, where, why and by whom black female subjects have been represented in Western art, but also what the social and cultural impacts of the colonial legacy of racialized western representation have been. She poses critical questions about the contexts of production, the problems of representation, the pathways of circulation and the consequences of consumption.
"Rival Sisters, Art and Music at the Birth of Modernism, 1815?915 "
Introducing the concept of music and painting as 'rival sisters' during the nineteenth century, this interdisciplinary collection explores the productive exchange-from rivalry to inspiration to collaboration-between the two media in the age of Romanticism and Modernism. The volume traces the relationship between art and music, from the opposing claims for superiority of the early nineteenth century, to the emergence of the concept of synesthesia around 1900. This collection puts forward a more complex history of the relationship between art and music than has been described in earlier works, including an intermixing of models and distinctions between approaches to them. Individual essays from art history, musicology, and literature examine the growing influence of art upon music, and vice versa, in the works of Berlioz, Courbet, Manet, Fantin-Latour, Rodin, Debussy, and the Pre-Raphaelites, among other artists.
‘Race Is Everything’
A timely and revealing look at the intertwined histories of science, art, and racism. ‘Race Is Everything’ explores the spurious but influential ideas of so-called racial science in the nineteenth and the first half of the twentieth centuries, and how art was affected by it. David Bindman looks at race in general, but with particular concentration on attitudes toward and representations of people of African and Jewish descent. He argues that behind all racial ideas of the period lies the belief that outward appearance—and especially skull shape, as studied in the pseudoscience of phrenology—can be correlated with inner character and intelligence, and that these could be used to create a seemingly scientific hierarchy of races. The book considers many aspects of these beliefs, including the skull as a racial marker; ancient Egypt as a precedent for Southern slavery; Darwin, race, and aesthetics; the purported “Mediterranean race”; the visual aspects of eugenics; and the racial politics of Emil Nolde.
On Diversity
A brilliant examination of a timely concept from one of the nation's great public intellectuals. Diversity. You've heard the term everywhere--in the news, in the universities, at the television awards shows. Maybe even in the corporate world, where diversity initiatives have become de rigueur. But what does the term actually mean? Where does it come from? What are its intellectual precedents? Moreover, how do we square our love affair with diversity with the fact that the world seems to be becoming more and more, well, homogeneous? With a lucid, straightforward prose that rises above the noise, one of America's greatest intellectual gadflies, Russell Jacoby, takes these questions squarely on. Discussing diversity (or lack thereof) in language, fashion, childhood experience, political structure, and the history of ideas, Jacoby offers in plain language a surprising and penetrating analysis of our cultural moment. In an age where our public thinkers seem to be jumping over one another to have the latest correct opinion, Jacoby offers a most dangerous, and liberating, injunction: to stop and think.
Alice Trumbull Mason
The first comprehensive publication exploring the life and art of pioneering American abstract artist Alice Trumbull Mason is perfect for audiences eager to discover unsung yet brilliantly talented women artists. A groundbreaking artist, Alice Trumbull Mason (1904-1971) was one of the earliest painters of the twentieth century to embrace abstract painting in America. Mason's early paintings have been compared to those of Gorky, Kandinsky, and Miró, and in 1936 she became a founding member of the American Abstract Artists (AAA) and one of its leaders in the promotion of abstract work by artists such as Josef Albers, Ad Reinhardt, Piet Mondrian, and many others. Mason was a true artist's artist whose efforts helped lead to the great movements of later twentieth-century art, such as Abstract Expressionism, Pop Art, Post-Modernism, and Conceptual Art. Alice Trumbull Mason features essays that illuminate and contextualize the artist's multifaceted work and personal life through her paintings, prints, poetry, and letters. The book reveals the full life story of a seminal abstractionist, making a sound argument for adding her to the annals of great twentieth-century artists.
