History of Modern Art Volume I

Elizabeth C. Mansfield  is Vice President for Scholarly Programs at the National Humanities Center in Research Triangle Park, North Carolina.  She  has taught art history at New York University and the University of the South in Sewanee, Tennessee . A scholar of modern European art and art historiography, her publications include books and articles on topics ranging from the origins of modernism to Picasso’s Demoiselles d’Avignon to the contemporary performance and body art of Orlan. Her 2007 book Too Beautiful to Picture : Zeus, Myth, and Mimesis was awarded the College Art Association’s Charles Rufus Morey book prize.

The late H.H. Arnason was a distinguished art historian, educator, and museum administrator who for many years was Vice President for Art Administration of the Solomon Guggenheim Museum in New York. He began his professional life in academia, teaching at Northwestern University, University of Chicago, and the University of Hawaii. From 1947 to 1961, Arnason was Professor and Chairman of the Department of Art at the University of Minnesota.

In this Section:
1) Brief Table of Contents

2) Full Table of Contents

BRIEF TABLE OF CONTENTS:

Chapter 1: The Origins of Modern Art

Chapter 2: The Search for Truth: Early Photography, Realism, and Impressionism

Chapter 3: Post-Impressionism

Chapter 4: Arts and Crafts, Art Nouveau, and the Beginnings of Expressionism

Chapter 5: The New Century: Experiments in Color and Form

Chapter 6: Expressionism in Germany and Austria

Chapter 7: Cubism

Chapter 8: Early Modern Architecture

Chapter 9: European Art after Cubism

Chapter 10: Picturing the Wasteland: Western Europe during World War I

Chapter 11: Art in France after World War I

Chapter 12: Clarity, Certainty, and Order: De Stijl and the Pursuit of Geometric Abstraction

Chapter 13: Bauhaus and the Teaching of Modernism

Chapter 14: Surrealism

Chapter 15: American Art Before World War II

  FULL TABLE OF CONTENTS:

Chapter 1: The Origins of Modern Art

    Making Art and Artists: The Role of the Critic

    The Modern Artist

    What Does It Mean to Be an Artist?: From Academic Emulation toward Romantic Originality

    Making Sense of a Turbulent World: The Legacy of Neoclassicism and Romanticism

Chapter 2: The Search for Truth: Early Photography, Realism, and Impressionism

    New Ways of Seeing: Photography and its Influence

    Only the Truth: Realism

    Seizing the Moment: Impressionism and the Avant-Garde

    From Realism to Impressionism

    Nineteenth-Century Art in the United States

Chapter 3: Post-Impressionism

    The Poetic Science of Color: Seurat and the Neo-Impressionist

    Form and Nature: Paul Cézanne

    The Triumph of Imagination: Symbolism

    An Art Reborn: Rodin and Sculpture at the Fin de Siècle

    Primitivism and the Avant-Garde: Gauguin and Van Gogh

    A New Generation of Prophets: The Nabis

    Montmartre: At Home with the Avant-Garde

Chapter 4: Arts and Crafts, Art Nouveau, and the Beginnings of Expressionism

    “A Return to Simplicity”: The Arts and Crafts Movement and Experimental

    Architecture

    Experiments in Synthesis: Modernism beside the Hearth

    With Beauty at the Reins of Industry: Aestheticism and Art Nouveau

    Natural Forms for the Machine Age: The Art Nouveau Aesthetic

    Painting and Graphic Art

    Toward Expressionism: Late Nineteenth-Century Avant-Garde Painting beyond France

Chapter 5: The New Century: Experiments in Color and Form

    Fauvism

    “Purity of Means” in Practice: Henri Matisse’s Early Career

    “Wild Beasts” Tamed: Derain, Vlaminck, and Dufy

    Religious Art for a Modern Age: Georges Rouault

    The Belle Époque on Film: The Lumière Brothers and Lartigue

    Modernism on a Grand Scale: Matisse’s Art after Fauvism

    Forms of the Essential: Constantin Brancusi

Chapter 6: Expressionism in Germany and Austria

    From Romanticism to Expressionism: Corinth and Modersohn-Becker

    Spanning the Divide between Romanticism and Expressionism: Die Brücke

    The Spiritual Dimension: Der Blaue Reiter

    Expressionist Sculpture

    Self-Examination: Expressionism in Austria

Chapter 7: Cubism

    Immersed in Tradition: Picasso’s Early Career

    Beyond Fauvism: Braque’s Early Career

    “Two Mountain Climbers Roped Together”: Braque, Picasso, and the

    Development of Cubism

    Constructed Spaces: Cubist Sculpture

    An Adaptable Idiom: Developments in Cubist Painting in Paris

    Other Agendas: Orphism and Other Experimental Art in

Chapter 8: Early Modern Architecture

    “Form Follows Function”: The Chicago School and the Origins of the Skyscraper

    Modernism in Harmony with Nature: Frank Lloyd Wright

    Temples for the Modern City: American Classicism 1900–15

    New Simplicity Versus Art Nouveau: Vienna Before World War I

    Tradition and Innovation: The German Contribution to Modern Architecture

    Toward the International Style: The Netherlands and Belgium

Chapter 9: European Art after Cubism

    Fantasy Through Abstraction: Chagall and the Metaphysical School

    “Running on Shrapnel”: Futurism in Italy

    “Our Vortex is Not Afraid”: Wyndham Lewis and Vorticism

    A World Ready for Change: The Avant-Garde in Russia

    Utopian Visions: Russian Constructivism

Chapter 10: Picturing the Wasteland: Western Europe during World War I

    The World Turned Upside Down: The Birth of Dada

    “Her Plumbing and Her Bridges”: Dada Comes to America

    “Art is Dead”: Dada in Germany

    Idealism and Disgust: The “New Objectivity” in Germany

Chapter 11: Art in France after World War I

    Eloquent Figuration: Les Maudits

    Dedication to Color: Matisse’s Later Career

    Celebrating the Good Life: Dufy’s Later Career

    Eclectic Mastery: Picasso’s Career after the War

    Sensuous Analysis: Braque’s Later Career

    Austerity and Elegance: Léger, Le Corbusier, and Ozenfant

Chapter 12: Clarity, Certainty, and Order: De Stijl and the Pursuit of Geometric Abstraction

    The de Stijl Idea

    Mondrian: Seeking the Spiritual Through the Rational

    Van Doesburg, de Stijl, and Elementarism

    De Stijl Realized: Sculpture and Architecture

Chapter 13: Bauhaus and the Teaching of Modernism

    Audacious Lightness: The Architecture of Gropius

    The Building as Entity: The Bauhaus

    The Vorkurs: Basis of the Bauhaus Curriculum

    Die Werkmeistern: Craft Masters at the Bauhaus

    From Bauhaus Dessau to Bauhaus U.S.A.

Chapter 14: Surrealism

    Breton and the Background to Surrealism

    “Art is a Fruit”: Arp’s Later Career

    Hybrid Menageries: Ernst’s Surrealist Techniques

    “Night, Music, and Stars”: Miró and Organic–Abstract Surrealism

    Methodical Anarchy: André Masson

    Enigmatic Landscapes: Tanguy and Dalí

    Surrealism beyond France and Spain: Magritte, Delvaux, Bellmer, Matta, and Lam

    Women and Surrealism: Oppenheim, Cahun, Maar, Tanning, and Carrington

    Never Quite “One of Ours”: Picasso and Surrealism

    Pioneer of a New Iron Age: Julio González

    Surrealism’s Sculptural Language: Giacometti’s Early Career

    Surrealist Sculpture in Britain: Moore

    Bizarre Juxtapositions: Photography and Surrealism

Chapter 15: American Art Before World War II

    American Artist as Cosmopolitan: Romaine Brooks

    The Truth about America: The Eight and Social Criticism

    A Rallying Place for Modernism: 291 Gallery and the Stieglitz Circle

    Coming to America: The Armory Show

    Sharpening the Focus on Color and Form: Synchromism and Precisionism

    The Harlem Renaissance

    Painting the American Scene: Regionalists and Social Realists

    Documents of an Era: American Photographers Between the Wars

    Social Protest and Personal Pain: Mexican Artists

    The Avant-Garde Advances: Toward American Abstract Art

    Sculpture in America Between the Wars

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