Modern Art 1851-1929: Capitalism and Representation by Richard BrettellModern Art 1851-1929: Capitalism and Representation by Richard Brettell

Modern Art 1851-1929: Capitalism and Representation

byRichard Brettell

Paperback | June 2, 1999

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The period 1851 to 1929 witnessed the rise of the major European avant-garde groups: the Realists, Impressionists, Post-Impressionists, Symbolists, Cubists, and Surrealists. It was also a time of rapid social, economic, and political change, encompassing a revolution in communication systemsand technology, and an unprecedented growth in the availability of printed images. Richard Brettell's innovative account explores the aims and achievements -- the beautiful and the bizarre -- of artists such as Monet, Gauguin, Picasso, and Dali, in relation to urban capitalism and expansion, colonialism, nationalism and internationalism, and the museum. Tracing common themes ofrepresentation, imagination, perception, and sexuality across works in a wide range of different media he presents a fresh approach to the fine art and photography of this remarkable era.

About The Author

Richard Brettell, formerly Director of the Dallas Museum, is currently an independent consultant to museums round the world. He also continues to undertake research and teaching duties at a variety of educational institutions.
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Details & Specs

Title:Modern Art 1851-1929: Capitalism and RepresentationFormat:PaperbackDimensions:272 pages, 9.37 × 6.57 × 0.63 inPublished:June 2, 1999Publisher:Oxford University PressLanguage:English

The following ISBNs are associated with this title:

ISBN - 10:019284220X

ISBN - 13:9780192842206

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Table of Contents

Introduction: The Great Exhibition of 1851, London. (Paris: the capital of modern art; New technology; The beginnings of modern art)Part I: Realism to Surrealism. (Realism; Impressionism; Symbolism; Post-Impressionism; Neo-Impressionism; Synthetism; The Nabis; The Fauves; Expressionism; Cubism; Futurism; Orphism; Vorticism; Suprematism/ Constructivism; Neo-Plasticism; Dada; Purism; Surrealism; The '-ism' problem)Part II: The Conditions for Modern ArtChapter 1. Urban Capitalism. (Paris and the birth of the modern city; Capitalist society; The commodification of art; The modern condition)Chapter 2. Modernity, Representation, and the Accessible Image. (The art museum; Temporary exhibitions; Lithography; Photography; Conclusion)Part III: The Artist's ResponseChapter 3. Representation, Vision, and 'Reality': The Art of Seeing. (The human eye; Transparency and unmediated modernism; Surface fetishism and unmediated modernism; Photography and unmediated modernism; Beyond the oil sketch; Cubism)Chapter 4. Image/Modernism and the Graphic Traffic. (The Pre-Raphaelite brotherhood; Puvis de Chavannes and Gustave Moreau: Image/Modernism outside the Avant-Garde; Image/Modernism outside France; Exhibitions of the Avant-Garde; Fragmentation, dislocation, and recombination)Part IV IconologyIntroductionChapter 5. Sexuality and the Body. (Manet's bodies; Modern art and pornography; The nude and the modernist cycle of life; The bathing nude; The allegorical or non-sexual nude; Colonialism and the nude: the troubled case of Gauguin; The bride stripped bare; Body parts and fragments)Chapter 6. Social Class and Class Consciousness. (Seurat and Sunday on the Grande Jatte, 1884; Class issues in Modernist culture; Portraiture; Images of peasantry; The worker and modern art)Chapter 7. Anti-Iconography: Art Without 'Subject'. (Landscape painting; Text and image; Abstraction)Chapter 8. Nationalism and Internationalism in Modern Art. (National identity; Time and place; Abstract art, spiritualism, and internationalism; Nationalist landscape painting)Afterword: The Private Institutionalization of Modern ArtNotes; List of Illustrations; Bibliographic Essay; Timeline; Index

From Our Editors

The great works of Monet, Gaugin, Picasso and Dali spectacularly marked the modern art era. Richard Bretnell looks at the European art movements of the time, including impressionism, symbolism and cubism in relation to societal changes in Modern Art 1851-1929. Scholars and art lovers will appreciate the author's fresh approach to the artwork produced in this unforgettable epoch. An important title in the superb Oxford History of Art series.