Nothing If Not Critical: Selected Essays on Art and Artists
Penguin Books, 1992 - 429 pagina's
From Holbein to Hockney, from Norman Rockwell to Pablo Picasso, from sixteenth-century Rome to 1980s SoHo, Robert Hughes looks with love, loathing, warmth, wit and authority at a wide range of art and artists, good, bad, past and present.
As art critic for Time magazine, internationally acclaimed for his study of modern art,The Shock of the New, he is perhaps America's most widely read and admired writer on art. In this book: nearly a hundred of his finest essays on the subject.
For the realism of Thomas Eakins to the Soviet satirists Komar and Melamid, from Watteau to Willem de Kooning to Susan Rothenberg, here is Hughes—astute, vivid and uninhibited—on dozens of famous and not-so-famous artists. He observes that Caravaggio was “one of the hinges of art history; there was art before him and art after him, and they were not the same”; he remarks that Julian Schnabel's “work is to painting what Stallone's is to acting”; he calls John Constable'sWivenhoe Park “almost the last word on Eden-as-Property”; he notes how “distorted traces of [Jackson] Pollock lie like genes in art-world careers that, one might have thought, had nothing to do with his.” He knows how Norman Rockwell made a chicken stand still long enough to be painted, and what Degas said about success (some kinds are indistinguishable from panic).
Phrasemaker par excellence, Hughes is at the same time an incisive and profound critic, not only of particular artists, but also of the social context in which art exists and is traded. His fresh perceptions of such figures as Andy Warhol and the French writer Jean Baudrillard are matched in brilliance by his pungent discussions of the art market—its inflated prices and reputations, its damage to the public domain of culture. There is a superb essay on Bernard Berenson, and another on the strange, tangled case of the Mark Rothko estate. And as a finale, Hughes gives us “The SoHoiad,” the mock-epic satire that so amused and annoyed the art world in the mid-1980s.
A meteor of a book that enlightens, startles, stimulates and entertains.
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... his sense of society is closed to us forever ; we will never be able to imagine
ourselves taking part in those rituals on the shaved lawns of the paradise -
garden . But Goya is a different matter . Consider two paintings that are not in this
... are simply beside the point . A sense of social precariousness is the last thing
one could expect to meet in a Chardin . Indeed , one can hardly imagine him
working without the conviction that his way of life was immutable — that there
Those who imagine that he just sat down in cornfields and let the landscape write
itself through him are refuted by the actual sequence of his drawings . Some of
his most vivid and impassioned - looking sketches — the coiling , toppling surf ...
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Nothing if not critical: selected essays on art and artistsGebruikersrecensie - Not Available - Book Verdict
This collection brings together over 90 essays, many of which have already appeared in major journals. Hughes considers the Masters, 19th-century art and artists, the Modernist spirit, American and ... Volledige review lezen
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