Modern Art, Revised and Updated (3rd Edition) |
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Editorial Review / Publisher's Information:
Product Description
Richly illustrated and clearly focused, this book surveys the genesis, development, and culmination of modern European/American painting, sculpture, architecture, and conceptual art—from Post-Impressionism through the most recent developments in the 1990s. It avoids the typical encyclopedic approach of surveys in favor of examining selected but highly representative works in greater depth and from an enlarged spectrum of critical discourse. Organized along chronological lines, topics explore the ideas, forms, events, artists, and works—with each chapter devoted to a style, movement, or decade—from Cézanne, Seurat, Gauguin, and Van Gogh through Minimalism and the general reaction known as Post-Modernism. Ideal for readers with a general interest in art.
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Customer Reviews:
Awesome Deal
02 August, 2009
Book arrived in time, and fast reply for questions.
If I have to buy this book again, I'll buy from this guy.
- Amazon Customer Review
Obvious Bias
28 August, 2009
After a while the obvious bias of the authors against the German expressionists becomes unbearable. In chapter 7, we learn that the Fauves were representatives of "French Expressionism" and "the century's first expressionist artists", before "the Teutonizing of the term". (page 101) Secondly, the authors insist on anglicizing the names of German art movements such as Die BrĂĽcke ("The Bridge") or Die Blaue Reiter ("The Blue Rider"), while the Fauves remain simply the Fauves, not "The Wild Beasts". The authors are very eager to imply that everything the German expressionists did was an impulsive and superficial reaction to the godlike creations of Henri Matisse.
Some more choice examples, which speak for themselves:
"In many respects so similar to the Fauve works of Matisse, the Expressionist art first produced in 20th-century Germany is readily distinguishable from that of the French master by the clear absence of the latter's balance of intellectual control and response to an harmonious natural world... German artists, however, enjoyed a far less effective and moderating tradition of realism, and thus had little taste for pragmatism and logical analysis, processes inherited from the humanist enlightenment and firmly fixed as the solid underpinning of French artistic values." (112)
"...German artists contemporary with the Fauve experiment could respond only superficially to the formalist aesthetic then dominant in France." (112)
"Max Pechstein... had the greatest commercial success, possibly because he responded to the influence of French art and hence was more decorative and less brutal than his associates."(115)
"If one may hazard a generalization, the Blue Rider artists can be said to have combined in their styles Cubism's geometric structure with the pure, painterly color of Robert Delaunay and the Fauves, to which they added a distinctly Teutonic brand of vehement emotionalism and "spirituality"." (117, the quotes there are the author's)
Before the Chapter on German Expressionism, the authors sing the undiluted praises of Matisse and crew in a chapter entitled "French Expressionism", a concept that in years of study of art history I have never heard of before except perhaps in connection with Chaim Soutine. Matisse is a masterful painter, yes, but don't choose this book if you want anything approaching a balanced survey of the subject.
- Amazon Customer Review
The Book Is So Horrible
05 July, 2009
This is the book used for my art history class that I take it as a general requirement for graduation.
The sentences are long and complicated. It is very difficult for me to understand what he is trying to say. I strongly believe it can be written in a much more simple form while clearly delivering the writer's messages to us.
This is a nightmare for me as a non-art major international student.
- Amazon Customer Review
Nice Price
12 February, 2010
Im glad i didn't have to pay what the bookstore on campus wanted, the book was in great shape, it did not mention the first couple of pages with highlights, but thats ok. Good purchase
- Amazon Customer Review
The Opposite Of Simplicity
04 March, 2010
I had to have this for an art history class. it is terrible. It seems like the authors decided to see how smart they could make themselves seem by using very difficult and profession specific language. it is quite verbose and extremely difficult to follow. I would have been lost if my professor had not had online lecture notes which were a thousand times clearer. As a result I ended up not using the book after the first week or two of class. Gardners Art Through the ages is much clearer than this book, but I'm not sure if they have a book on modern art, it would be worth checking out. If you are a grad student in art history you may like this book, otherwise, don't bother.
- Amazon Customer Review
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