Post-Impressionism to World War II
Blackwell Anthologies in Art History
Post-Impressionism to World War II is an exciting anthology
of the best art history writings of the Post-Impressionist period.
Several key essays by critics including Benjamin, Greenberg and
Bürger knit together primary sources and classic,
"canonical" criticism.
* * Collects the most important writings on art history from
Post-Impressionism to the mid-20th century, covering both canonical
and contemporary perspectives
* Offers a chronicle of avant-garde practice during an especially
creative, if volatile, period of history
* Features several key essays by critics including Benjamin,
Greenberg and Bürger
* Includes recent critical interventions from a range of
methodological perspectives - both well-known and less
familiar
* Organizes material thematically, and features introductory
essays to each of the five sections
* Provides a valuable, stimulating resource for students and
teachers alike and offers new ways to think about and teach this
important period in art history.
Preface.
Acknowledgments..
Part I: Programs and Manifestos. .
Introduction.
1 Post-Impressionism (Roger Fry).
2 Why are we publishing a journal (Ver Sacrum editorial).
3 Notes of a Painter (Henri Matisse).
4 The Foundation and Manifesto of Futurism (F.T. Marinetti).
5 Dada Manifesto (Hugo Ball).
6 The Work Ahead of Us (Vladimir Tatlin).
7 First Manifesto of Surrealism (André Breton).
8 Introduction to 'New Objectivity': German Painting
since Expressionism (Gustav Hartlaub).
Part II: Spirit and Subjectivity.
Introduction.
9 Gustave Moreau (Joris-Karl Huysmans).
10 Symbolism in Painting: Paul Gauguin (G.-Albert Aurier).
11 from Abstraction and Empathy: A Contribution to the
Psychology of Style (Wilhelm Worringer).
12 from Concerning the Spiritual in Art (Wassily Kandinsky).
13 Mystery and Creation (Giorgio de Chirico).
14 From Cubism and Futurism to Suprematism: The New Painterly
Realism (Kazimir Malevich).
15 Neo-Plasticism: The General Principle of Plastic Equivalence
(Piet Mondrian).
Part III: Mass Culture and Modernity.
Introduction.
16 The Mass Ornament (Siegfried Kracauer).
17 The Work of Art in the Age of Mechanical Reproduction"
(Walter Benjamin).
18 Avant-Garde and Kitsch (Clement Greenberg).
19 Modernism in the Work of Art (Victor Burgin).
20 The Hidden Dialectic: Avantgarde - Technology - Mass Culture
(Andreas Huyssen).
Part IV: Politics and the Avant-Garde.
Introduction.
21 The Politics of the Avant-Garde (Raymond Williams).
22 from Theory of the Avant-Garde (Peter Bürger).
23 Jugglers' Fair Beneath the Gallows (Ernst Bloch).
24 Towards a Free Revolutionary Art (André Breton, Diego
Rivera and Leon Trotsky).
25 The Birth of Socialist Realism from the Spirit of the Russian
Avant-Garde (Boris Groys).
Part V: Identity and Appropriation.
Introduction.
26 Going Native (Abigail Solomon-Godeau).
27 Virility and Domination in 20th-Century Vanguard Painting
(Carol Duncan).
28 from Men's Work? Masculinity and Modernism (Lisa
Tickner).
29 What the Papers Say: Politics and Ideology in Picasso's
Collages of 1912 (David Cottington).
30 "Dada as 'Buffoonery and Requiem At the Same
Time'" (Hanne Bergius).
31 Surrealism: Fetishism's Job (Dawn Ades).
Index.
prove invaluable to students and teachers of high modernism. Debbie
Lewer has done an excellent job in editing an exemplary selection
of texts from the familiar to the obscure... This anthology
represents the first book to be published as part of a new series:
the Blackwell Anthologies in Art History. These books will
provide overviews of major periods in art history. If they are all
of this consistent quality then this will prove to be an excellent
and invaluable series." The Art Book
"Post-Impressionism to World War II is a skillfully
selected anthology of texts on art history and theory which will be
of great value to undergraduate and graduate students of art
history and cultural theory." Andrew Causey, University
of Manchester
"At the heart of Debbie Lewer's selection of texts
lies a powerful sense ofthe way modern art intersected with broader
political and cultural debates.This will prove to be an inspiring
and enduring resource for students oftwentieth-century art."
David Hopkins, University of Glasgow
"This is an invaluable collection of the texts that set
the terms for and responded to the modernist projects of the
twentieth century, supported by clear, nuanced editorial essays
situating them within a range of critical understandings."
Elizabeth Legge, University of Toronto
