Nothing If Not Critical: Essays on Art and ArtistsKnopf Doubleday Publishing Group, 22 feb 2012 - 400 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. |
Vanuit het boek
Resultaten 1-5 van 90
Pagina
... Paris, setting the norms of discourse for the rest of the world's art. This sense of imperial role (and the nervousness it induced in the provinces) would much later be summed up by Irving Sandler in the title of his fine book on ...
... Paris, setting the norms of discourse for the rest of the world's art. This sense of imperial role (and the nervousness it induced in the provinces) would much later be summed up by Irving Sandler in the title of his fine book on ...
Pagina
... Paris. America has never produced an artist to rival Picasso or Matisse, or an art movement with the immense resonance of Cubism. But marvelous work was done there nevertheless. And it can certainly be said of the New York School that ...
... Paris. America has never produced an artist to rival Picasso or Matisse, or an art movement with the immense resonance of Cubism. But marvelous work was done there nevertheless. And it can certainly be said of the New York School that ...
Pagina
... York imperium; Europe has risen again, and with a vengeance. There is much to suggest that in the 1980s New York not only lost its primacy as an art center but also began to go the way of its predecessors, Paris in the II.
... York imperium; Europe has risen again, and with a vengeance. There is much to suggest that in the 1980s New York not only lost its primacy as an art center but also began to go the way of its predecessors, Paris in the II.
Pagina
... Paris in the 1950s and Rome in the 1670s—over the hill, into decline. The point is not that New York has been replaced by some other city as center. It has not been, and will not be. Rather, the idea of the single art center is now on ...
... Paris in the 1950s and Rome in the 1670s—over the hill, into decline. The point is not that New York has been replaced by some other city as center. It has not been, and will not be. Rather, the idea of the single art center is now on ...
Pagina
... Paris; sculptors Magdalena Abakanowicz, Nancy Graves, William Tucker and Joel Shapiro; in England, Frank Auerbach, Howard Hodgkin and R. B. Kitaj), to such younger artists as Anselm Kiefer, Susan Rothenberg, Neil Jenney, Sean Scully ...
... Paris; sculptors Magdalena Abakanowicz, Nancy Graves, William Tucker and Joel Shapiro; in England, Frank Auerbach, Howard Hodgkin and R. B. Kitaj), to such younger artists as Anselm Kiefer, Susan Rothenberg, Neil Jenney, Sean Scully ...
Inhoudsopgave
Sir Joshua Reynolds | |
Goya | |
David Smith Sculptures | |
David Smith Drawings | |
Lee Krasner | |
Milton Avery | |
Jackson Pollock | |
Arshile Gorky | |
Joseph Cornell | |
Edward Hopper | |
Zurbarán | |
Nicolas Poussin | |
Guido Reni | |
Inigo Jones | |
JeanSiméon Chardin | |
John Constable | |
Antoine Watteau | |
German Romanticism | |
Edgar Degas | |
Courbet in Brooklyn | |
John Singer Sargent | |
Augustus SaintGaudens | |
Winslow Homer | |
James Whistler | |
PreRaphaelites | |
Camille Pissarro | |
Thomas Eakins | |
ToulouseLautrec | |
Auguste Rodin | |
Van Gogh and Cloisonnism | |
Édouard Manet | |
Henri Rousseau | |
Vincent van Gogh Part 1 | |
Vincent van Gogh Part 2 | |
Paul Gauguin | |
René Magritte | |
Vasily Kandinsky | |
Giorgio de Chirico | |
Julio Gonzalez | |
Max Beckmann | |
Henri Matisse in Nice | |
Futurism | |
English Art in the Twentieth Century | |
Oskar Kokoschka | |
Giorgio Morandi | |
Late Picasso | |
Thomas Hart Benton | |
Deco and Fins | |
Morris Louis | |
Diego Rivera | |
Norman Rockwell | |
Mark Rothko in Babylon | |
Andy Warhol | |
Saul Steinberg | |
James Turrell | |
R B Kitaj | |
Roy Lichtenstein | |
Nam June Paik | |
Richard Diebenkorn | |
Komar and Melamid | |
Howard Hodgkin | |
Louise Bourgeois | |
Philip Pearlstein | |
Robert Motherwell | |
Sandro Chia | |
Malcolm Morley | |
Julian Schnabel | |
Requiem for a Featherweight | |
Willem de Kooning | |
Francis Bacon | |
Francesco Clemente | |
James Rosenquist | |
Alex Katz | |
Susan Rothenberg | |
Anselm Kiefer | |
Elizabeth Murray | |
David Hockney | |
Donald Sultan | |
Leon Kossoff | |
Eric Fischl | |
Sean Scully | |
Christopher Wilmarth | |
Bernard Berenson | |
From Bauhaus to Our House | |
Brideshead Redecorated | |
America | |
Art and Money | |
orThe Masque of Art | |
A NOTE ABOUT THE AUTHOR | |
Overige edities - Alles bekijken
Nothing If Not Critical: Selected Essays on Art and Artists Robert Hughes Gedeeltelijke weergave - 1992 |
Veelvoorkomende woorden en zinsdelen
abstract Abstract Expressionism aesthetic American art American artist Andy Warhol Anselm Kiefer architecture art history art market art world avant-garde Basquiat Baudrillard Bauhaus 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 French Gallery Gauguin Gogh Goya Goya’s Hockney idea imagery imagine Italian Jackson Pollock Jean-Michel Basquiat Kiefer kind Kooning landscape late light living look Manet mass media Matisse Michelangelo modern art modernist Motherwell motif Museum Neo-Expressionism never nineteenth century nude obsessed one’s painter painting Paris parody Picasso pictorial picture Pollock portraits Poussin R. B. Kitaj Renaissance retrospective Rivera Rome Rothko scene Schnabel sculpture seems seen sense sixties social Steinberg studio style surface Susan Rothenberg things Titian turned visual wanted Warhol watercolors Watteau Whistler York