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 1716
... drawing from the live model and the natural motif - were hostile to " creativity . " This fiction enabled Americans to ignore the inconvenient fact that virtually all artists who created and extended the modernist enterprise between ...
... drawing from the live model and the natural motif - were hostile to " creativity . " This fiction enabled Americans to ignore the inconvenient fact that virtually all artists who created and extended the modernist enterprise between ...
Pagina 1719
... drawing, touch and brushwork, of color and tone, that slow up the eye and encourage, beyond the quick look, a slow absorption? III But the real disjuncture between the fins de siècle lies deeper than this. A hundred years ago, painting ...
... drawing, touch and brushwork, of color and tone, that slow up the eye and encourage, beyond the quick look, a slow absorption? III But the real disjuncture between the fins de siècle lies deeper than this. A hundred years ago, painting ...
Pagina 1725
... artists , made in the belief that their work could grow best there and nowhere else , that fueled New York . The critical mass of talent emits the energies that proclaim the center ; its gravitational field keeps drawing more.
... artists , made in the belief that their work could grow best there and nowhere else , that fueled New York . The critical mass of talent emits the energies that proclaim the center ; its gravitational field keeps drawing more.
Pagina 1726
... drawing more talent in , as in the combustion of a star , to sustain the reaction . The process is now dying . And the sense of entropy is compounded by the decay of New York civic life , not a problem in Paris . Up to a certain point ...
... drawing more talent in , as in the combustion of a star , to sustain the reaction . The process is now dying . And the sense of entropy is compounded by the decay of New York civic life , not a problem in Paris . Up to a certain point ...
Pagina 1743
... drawing Cecily Heron , the youngest daughter of Sir Thomas More , Holbein selected the pose of another woman with the same first name , Cecilia Gallerani , the model for Leonardo's Lady with an Ermine . If one could not deduce from his ...
... drawing Cecily Heron , the youngest daughter of Sir Thomas More , Holbein selected the pose of another woman with the same first name , Cecilia Gallerani , the model for Leonardo's Lady with an Ermine . If one could not deduce from his ...
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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