Modern Art 1851-1929 Capitalism and

In a bold new look at the Modern Art era, Brettell explores the works of such artists as Monet, Gauguin, Picasso, and Dali--as well as lesser-known figures--in relation to expansion, colonialism, national and internationalism, and the rise of the museum. 140 illustrations, 75 in color.

Richard R. Brettell, formerly Director of the Dallas Museum, is currently an independent consultant to museums around the world.

Introduction The Great Exhibition of 1851, London

1

(3)

Paris: the capital of modern art

3

(1)

New technology

3

(2)

The beginnings of modern art

5

(4)

PART I REALISM TO SURREALISM

9

(40)

Realism

13

(2)

Impressionism

15

(4)

Symbolism

19

(2)

Post-Impressionism

21

(3)

Neo-Impressionism

24

(2)

Synthetism

26

(1)

The Nabis

27

(2)

The Fauves

29

(1)

Expressionism

30

(2)

Cubism

32

(3)

Futurism

35

(1)

Orphism

36

(2)

Vorticism

38

(1)

Suprematism/Constructivism

39

(1)

Neo-Plasticism

40

(2)

Dada

42

(1)

Purism

43

(1)

Surrealism

44

(2)

The`-ism' problem

46

(3)

PART II THE CONDITIONS FOR MODERN ART

49

(32)

Urban Capitalism

51

(14)

Paris and the birth of the modern city

52

(4)

Capitalist society

56

(2)

The commodification of art

58

(2)

The modern condition

60

(5)

Modernity, Representation, and the Accessible Image

65

(16)

The art museum

67

(3)

Temporary exhibitions

70

(2)

Lithography

72

(2)

Photography

74

(4)

Conclusion

78

(3)

PART III THE ARTIST'S RESPONSE

81

(44)

Represntation, Vision, and `Reality': The Art of Seeing

83

(22)

The human eye

86

(1)

Transparency and unmediated modernism

87

(2)

Surface fetishism and unmediated modernism

89

(3)

Photography and unmediated modernism

92

(3)

Beyond the oil sketch

95

(2)

Cubism

97

(8)

Image/Modernism and the Graphic Traffic

105

(20)

The Pre-Raphaelite brotherhood

110

(1)

Puvis de Chavannes and Gustave Moreau: image/modernism outside the avant-grade

111

(3)

Image/modernism outside France

114

(2)

Exhibitions of the avant-grade

116

(4)

Framentation, dislocation, and recombination

120

(5)

PART IV ICONOLOGY

125

(86)

Introduction

127

(4)

Sexuality and the Body

131

(24)

Manet's bodies

131

(5)

Modern art and pornography

136

(2)

The nude and the modernist cycle of life

138

(3)

The bathing nude

141

(5)

The allegorical or non-sexual nude

146

(1)

Colonialism and the nude: the troubled case of Gauguin

147

(3)

The bride stripped bare

150

(1)

Body parts and fragments

151

(4)

Social Class and Class Consciousness

155

(26)

Seurat and A Summer Sunday on the Island of the Grande Jatte (1884)

155

(4)

Class issues in modernist culture

159

(4)

Portraiture

163

(7)

Images of peasantry

170

(4)

The worker and modern art

174

(7)

Anti-Iconography: Art Without `Subject'

181

(16)

Landscape painting

181

(6)

Text and image

187

(3)

Abstraction

190

(7)

Nationalism and Internationalism in Modern Art

197

(14)

National identity

197

(3)

Time and place

200

(2)

Abstract art, spiritualism, and internationalism

202

(4)

Nationalist landscape painting

206

(5)

Afterword The Private Institutionalization of Modern Art

211

(7)

Notes

218

(8)

List of Illustrations

226

(6)

Bibliographic Essay

232

(8)

Timeline

240

(10)

Julie Lawrence Cochran

Index

250

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Modern Art 1851-1929 Capitalism and Representation

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Table of Contents

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