By Steve Edwards
The essays during this quantity interact at once with topical concerns round paintings and gender, globalization, cultural distinction, and curating, in addition to explorations of key artists and routine and a few much less well-documented paintings via modern artists.
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Extra info for Art & Visual Culture 1850-2010: Modernity to Globalization
Prendergast, C. (1992) Paris and the Nineteenth Century, Oxford, Blackwell. Rosenberg, H. (1970 ) ‘The fall of Paris’ in The Tradition of the New, London, Paladin, pp. 185–94. Sandler, I. (1970) The Triumph of American Painting, Westport, CT, Praeger. Schapiro, M. (1978 ) ‘Nature of abstract art’ in Modern Art: 19th and 20th Centuries. 185–211. Simmel, G. P. and Featherstone, M. 174–85. , Bracewell-Homer, P. and Robinson, J. (eds) Art and Visual Culture: A Reader, London, Tate Publishing in association with The Open University, pp.
Baudelaire, C. (1981 ) ‘On photography’ in Newhall, B. 112–13. Benjamin, W. (1983) Charles Baudelaire: A Lyric Poet in the Era of High Capitalism, London, Verso. Bürger, P. (1984) Theory of the Avant-Garde, Manchester, Manchester University Press. J. (1984) The Painting of Modern Life: Paris in the Art of Manet and his Followers, London, Thames & Hudson. Duchamp, M. (1975) The Essential Writings of Marcel Duchamp (ed. Peterson), London, Thames & Hudson. -A. D. (2004) Art since 1900: Modernism, Antimodernism, Postmodernism, London, Thames & Hudson.
But this impulse had a wide appeal, beyond the circles of abstract artists. It is important to understand that the art of this time does not follow a single track. Nevertheless, artists who were identified as modernist shared a belief that the old techniques and skills were increasingly inadequate, even redundant, in the face of new conditions, whether those concepts were thought to be social, spatial or aesthetic. Even in the few western metropolitan cities where modern art developed, it was invisible to most people and the spread was definitely uneven.