Ways Around ModernismRoutledge, 18 okt 2013 - 144 pagina's Stephen Bann examines the arguments for the centrality of French modernist painting. He begins by focusing particularly on the notion of the modernist break, as it has been interpreted with regard to painters like Manet and Ingres. He argues that ‘curiosity’, with its origins in the seventeenth-century world-view can be a valid concept for understanding some aspects of contemporary art that contest the modern, suggesting ways of sidetracking the modern by adopting a lengthier historical view. |
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Abel de Pujol’s aesthetic art historian artist avant-garde Bann’s Bargrave Bargrave’s Barthes’s Baudelaire Beaux-Arts Benjamin’s cabinet Carlo Ginzburg catalogue Château d’Oiron cloud Colin Rowe collection collector composition concept contemporary art context contrast critic Curiosité curiosity Déjeuner à l’atelier Déjeuner sur l’herbe Delaroche display engraving essay example exhibition Faussett Figure French Fried’s gallery genre Gérôme hierarchy of genres history painting Hubert Damisch Hubert Duprat Ian Hamilton Finlay Ingres Ingres’s interest James Elkins Jannis Kounellis kind Kounellis Manet Mantz Meyer Schapiro Michael Fried Modern Art modernist Musée Gassendi museum Nietzsche’s nineteenth century notion objects Oiron original painters Paris photographs Picasso Postmodernism precisely question Raphael recent relation relationship Renaissance ricorso Romanticism Saint Etienne Saint Symphorien Salon Salon des Refusés Schapiro Scheffer’s sculpture sense seventeenth century specific Spitzner Stephen Bann strategy Surrealism Susan Siegfried tion tradition University College Cork University Press visual