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. |
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Pagina 1704
... Rome and 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 ...
... Rome and 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 ...
Pagina 1709
... 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 the verge of ...
... 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 the verge of ...
Pagina 1734
... Rome , had the gravitational field of an imperial culture center . At the height of Donatello's career there were perhaps 65,000 people in Florence . There was a modest international art market . Artists did work in cities other than ...
... Rome , had the gravitational field of an imperial culture center . At the height of Donatello's career there were perhaps 65,000 people in Florence . There was a modest international art market . Artists did work in cities other than ...
Pagina 1735
... Rome . The bones of the empire rose from the soil and reconstituted themselves as an aesthetic imperium . When Italian artists began to take a systematic interest in the relics of antiquity , the classical past was seen to contain whole ...
... Rome . The bones of the empire rose from the soil and reconstituted themselves as an aesthetic imperium . When Italian artists began to take a systematic interest in the relics of antiquity , the classical past was seen to contain whole ...
Pagina 1736
... Rome more for its dead artists than its uninspired living ones; most Roman painting in the early seventeenth century was as sunk in affectation as the much-touted transavanguardia in the early 1980s. But in the process they transformed ...
... Rome more for its dead artists than its uninspired living ones; most Roman painting in the early seventeenth century was as sunk in affectation as the much-touted transavanguardia in the early 1980s. But in the process they transformed ...
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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 architecture art history art market art world avant-garde Basquiat Baudrillard Bauhaus become Berenson blue canvas Caravaggio career catalogue century 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 Italian Jackson Pollock Jean-Michel Basquiat Kiefer kind Kooning landscape late light living look Manet mass media Matisse matter modern art modernist Motherwell motif Museum Neo-Expressionism never nude obsessed painter painting Paris parody Picasso pictorial picture Pollock portraits Poussin R. B. Kitaj Renaissance retrospective Rome Rothko scene Schnabel sculpture seems seen sense sixties social Steinberg studio style surface Susan Rothenberg things Titian turned visual wanted Warhol watercolors Whistler York Zurbarán