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The shock of the new: art and the century of change Copertina flessibile – 2 settembre 1991
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Through each of the thematic chapters Hughes keeps his story grounded in the history of the 20th century, demonstrating how modernism sought to describe the experience of that era and showing how for many key art movements this was a task of vital importance.
The way in which Hughes brings that vitality and immediacy back through the well-chosen example and well-turned phrase is the heart of this book's success.
- Lunghezza stampa444 pagine
- LinguaInglese
- EditoreThames & Hudson
- Data di pubblicazione2 settembre 1991
- Dimensioni20.2 x 3 x 27.6 cm
- ISBN-100500275823
- ISBN-13978-0500275825
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A genuine landmark, presenting the story of 20th-century art with unparalleled immediacy. --Elle Decoration
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Dettagli prodotto
- Editore : Thames & Hudson; 1° edizione (2 settembre 1991)
- Lingua : Inglese
- Copertina flessibile : 444 pagine
- ISBN-10 : 0500275823
- ISBN-13 : 978-0500275825
- Peso articolo : 1,63 Kilograms
- Dimensioni : 20.2 x 3 x 27.6 cm
- Posizione nella classifica Bestseller di Amazon: n. 1,491 in Critica dell'arte
- n. 5,279 in Artisti individuali
- n. 9,468 in Storia dell'arte
- Recensioni dei clienti:
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A brilliantly written and engaging book. I recommend this book to students all the time.
What captured my attention was Hughes’ exceptional contention, for an art critic, that “… (in)the time of our grandfathers and great-grandfathers, the visual arts had a kind of social importance they can no longer claim today”. (Hughes, Robert. The Shock of the New (Kindle Locations 110-111). Knopf Doubleday Publishing Group. Kindle Edition.)
For an art critic to say that the importance of art has diminished since 1870 is astonishing in itself. I began to believe that Robert Hughes would deliver an honest appraisal of modern art while explaining what was going on at the same time. Mr. Hughes came through with flying colors. This is a brutally honest appraisal of modern art, where it has come from, and what happens now that it seems to have died a convoluted death.
“What has our culture lost in 1980 that the avant-garde had in 1890? Ebullience, idealism, confidence, the belief that there was plenty of territory to explore, and above all the sense that art, in the most disinterested and noble way, could find the necessary metaphors by which a radically changing culture could be explained…” (Kindle Locations 117-119).
Mr. Hughes correctly observes that the most important event in the history of modern art was World War I, the first industrial war in history. Masses of men were thrown against defenses that were all but impossible to breach. As offensive after offensive died on the Western Front the generals and politicians lied about what was going on. It was this unmitigated slaughter coupled with the lies of governments that incited modern art after WWI.
Impressionism was part of the triumph of middle-class society. First showing in 1874 it caused a major upheaval in art and French society, and became the most popular of all art movements. Note this was pre-WWI. “An Impressionist ‘view’ was the essence of realism: it represented one thing at a given moment in time.” And “the chaos of the ‘view’ must be made to reflect order, structure, and system.” After WWI this ‘view’ of a world with structure and order was gone.
Modern art obviously includes architecture, and the author does a masterful job of showing the reader how modern architecture fits into modern art.
In his final chapters the author describes the death of the avant-garde in the 1970s, crushed by media driven art. The 1970s, says the author, was the decade that modernism became the official culture of America and Europe. But, it became clear that painting and sculpture would not be the primary forms of social speech after the rise of the mass market. The modernist condemned themselves to a self-deception about the limits of art. Mr. Hughes points out that in fact the world changes itself, but the artist cannot claim to have caused the change. Thus, the death of the avant-garde.
Mr. Hughes contends money impacted modern art after the fall of the Soviet Union and the rise of the international super-rich who could pay enormous amounts of money for art. This created the largest art market boom in history, but did not result in an increase in artistic quality. Modernism failed to provide radically new forms to emote new feelings. The new lax thought processes weakened the ideal of mastery and thereby damaged modern art forms.
The author’s descriptions of various art movements and artist are excellent. My only complaint was the narrative was choppy. I could not follow which art movement he was discussing as he jumped between eras and artists very quickly. Also, the pictures being discussed are often nowhere near the page the text is on, but this is probably a fault of the electronic book and not the author.