Nothing If Not Critical: Selected Essays on Art and ArtistsPenguin Publishing Group, 1992 - 448 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’s Wivenhoe 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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Pagina 22
... past art should be sent around the world for frivolous or merely political reasons . The blockbuster , that curse of American museology , began with two events : André Malraux's loan of the Mona Lisa to the United States in 1963 ( so ...
... past art should be sent around the world for frivolous or merely political reasons . The blockbuster , that curse of American museology , began with two events : André Malraux's loan of the Mona Lisa to the United States in 1963 ( so ...
Pagina 175
... past , which is impossible anyway . Boccioni , in particular , kept paying it homage : his striding bronze figure in space alludes to the same Victory of Samothrace that Marinetti thought less beautiful than a car ; the figures who ...
... past , which is impossible anyway . Boccioni , in particular , kept paying it homage : his striding bronze figure in space alludes to the same Victory of Samothrace that Marinetti thought less beautiful than a car ; the figures who ...
Pagina 262
... past . " You learn all the clichés of your time . My time was late Cubism , late Bauhaus : our clouds came straight out of Arp , complete with a hole in the middle ; even our trees were influenced by the mania for the kidney shape ...
... past . " You learn all the clichés of your time . My time was late Cubism , late Bauhaus : our clouds came straight out of Arp , complete with a hole in the middle ; even our trees were influenced by the mania for the kidney shape ...
Inhoudsopgave
of the City of Mahagonny | 3 |
Ancestors | 31 |
Nineteenth Century | 89 |
Copyright | |
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Nothing If Not Critical: Selected Essays on Art and Artists Robert Hughes Gedeeltelijke weergave - 1992 |
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abstract Abstract Expressionism aesthetic American art American artist Andy Warhol architecture art history art market art world avant-garde Basquiat Baudrillard become Berenson blue canvas Caravaggio career catalogue Cézanne Chirico collectors color Courbet critics Cubist cultural dealers death Degas drawing early Édouard Manet eighties English exhibition expressionist face fantasy feeling figure flat Frank Auerbach French Gallery Gauguin Gogh Goya Goya's hero Hockney idea imagery imagine Jackson Pollock Jean-Michel Basquiat Kiefer kind Kooning landscape late light living look Manet mass media Matisse matter Michelangelo modern art modernist Motherwell motif Museum Neo-Expressionism never nineteenth century nude obsessed painter painting Paris parody Picasso pictorial picture Pollock portrait Poussin Pre-Raphaelite R. B. Kitaj retrospective Rome Rothko scene Schnabel sculpture seems seen sense sixties social Steinberg studio style surface Susan Rothenberg things tion turned visual wanted Warhol watercolors York Zurbarán
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