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Cubism and Culture
"This is a book whose great achievement is to bring out the importance of the Cubists in a history far bigger than the history of art." Christopher Green, Courtauld Institute of Art"
Fascist Visions
Bringing together studies by art historians, historians, and political scientists, Fascist Visions explores the themes and paradigms that pervaded protofascist and fascist aesthetic discourse, cultural policy, and artistic production in France and Italy. Whether traditionalist or innovative in idiom, art functioned as the expression of fascism's ideological polarities: nihilism and idealism, modernism and antimodernism, revolution and reaction. This volume charts the unfolding of fascist aesthetics from its genesis in nationalist and antimaterialist ideologies before World War I to its full development during the interwar period and World War II. It also highlights the shared motivations of ...
Avant-Garde Fascism
An investigation of the central role that theories of the visual arts and creativity played in the development of fascism in France between 1909 and 1939.
Inventing Bergson
At the turn of the century the philosophy of Henri Bergson captivated France, and Bergson's theories of intuition and elan vital influenced artistic and political notions of the supreme individual, the collective consciousness of a class or race, and the esprit of the nation itself. Here Mark Antliff demonstrates how various artists in prewar France positioned themselves and their art in this plurality of political discourse. By interrelating such movements as Futurism, Cubism, and Fauvism, he elucidates the pervasive impact of Bergson on Modernism in Europe, especially in terms of theories of organic form. Antliff defines the anarcho-individualism of Gino Severini as it relates to the anarc...
Vorticism
Vorticism addresses the seminal innovations in theatre, literature and poetry as well as Vorticist painting, sculpture, print making, and photography that encompassed the Vorticism art movement.
A Cubism Reader
"This definitive anthology covers the historical genesis of cubism from 1906 to 1914, with documents that range from manifestos and poetry to exhibition prefaces and reviews to articles that address the cultural, political, and philosophical issues related to the movement. Most of the texts Mark Antliff and Patricia Leighten have selected are from French sources, but their inclusion of carefully culled German, English, Czech, Italian, and Spanish documents speaks to the international reach of cubist art and ideas. Equally wide-ranging are the writers represented--a group that includes Guillaume Apollinaire, Gertrude Stein, Jean Metzinger, Albert Gleizes, Fernand Léger, Francis Picabia, André Salmon, Raymond Duchamp-Villon, Henri Le Fauconnier, and many others."--Publisher description.
The Vorticists
The first exhibition in Italy dedicated to Vorticism, Britain's contribution to the visual avant-gardes that flourished in Europe at the beginning of the 20th century. Its distinctive figurative abstraction was a London-based Anglo-American response to Cubism and Futurism. Led by poet Ezra Pound and by artist and writer Wyndham Lewis Vorticism flared up between 1913 and 1918.
The Racial Discourses of Life Philosophy
In the early twentieth century, the life philosophy of Henri Bergson summoned the élan vital, or vital force, as the source of creative evolution. Bergson also appealed to intuition, which focused on experience rather than discursive thought and scientific cognition. Particularly influential for the literary and political Négritude movement of the 1930s, which opposed French colonialism, Bergson's life philosophy formed an appealing alternative to Western modernity, decried as "mechanical," and set the stage for later developments in postcolonial theory and vitalist discourse. Revisiting narratives on life that were produced in this age of machinery and war, Donna V. Jones shows how Bergso...
The New Bergson
At the threshold of the twentieth century, Bergson reset the agenda for philosophy and its relationship with science, art and even life itself. Concerned with both examining and extolling the phenomena of time, change, and difference, he was at one point held as both "the greatest thinker in the world" and "the most dangerous man in the world." Yet the impact of his ideas was so all-pervasive among artists, philosophers and politicians alike, that by the end of the First World War it had become impossibly diffuse. In a manner imitating his own cult of change, the Bergsonian school departed from the scene almost as quickly as it had arrived. As part of a current resurgence of interest in Bergson, both in Europe and in North America, this collection of essays addresses the significance of his philosophical legacy for contemporary thought.
Critical Terms for Art History, Second Edition
"Art" has always been contested terrain, whether the object in question is a medieval tapestry or Duchamp's Fountain. But questions about the categories of "art" and "art history" acquired increased urgency during the 1970s, when new developments in critical theory and other intellectual projects dramatically transformed the discipline. The first edition of Critical Terms for Art History both mapped and contributed to those transformations, offering a spirited reassessment of the field's methods and terminology. Art history as a field has kept pace with debates over globalization and other social and political issues in recent years, making a second edition of this book not just timely, but ...
