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 1707
... face in reproductions . He shows it only in paintings . And if you got to see the paintings , what if you still didn't see it ? Did that mean that his terrible and sublime visage was not there either ? Of course not ; it meant only that ...
... face in reproductions . He shows it only in paintings . And if you got to see the paintings , what if you still didn't see it ? Did that mean that his terrible and sublime visage was not there either ? Of course not ; it meant only that ...
Pagina 1733
... face the same unreality and weightlessness as a serious actor in Los Angeles . The idea of the " cutting edge " -the phrase is still used by some curators is likewise fatuous , a fossil relic of a belief in artistic " progress " that no ...
... face the same unreality and weightlessness as a serious actor in Los Angeles . The idea of the " cutting edge " -the phrase is still used by some curators is likewise fatuous , a fossil relic of a belief in artistic " progress " that no ...
Pagina 1744
... face as well as this again . The tradition is cut , the bow unstrung . But the drawings remain - abraded , retouched , sometimes ( as in a study of the bony , intense face of Bishop John Fisher ) vandalized by later hands , yet through ...
... face as well as this again . The tradition is cut , the bow unstrung . But the drawings remain - abraded , retouched , sometimes ( as in a study of the bony , intense face of Bishop John Fisher ) vandalized by later hands , yet through ...
Pagina 1745
... faces ; better shaved , they populate the West End in London today . Even the women , as in Holbein's elegant full - face study of Mary Zouch , square - jawed and pale , are reborn among the Sloane Rangers outside Harrods . " Here is ...
... faces ; better shaved , they populate the West End in London today . Even the women , as in Holbein's elegant full - face study of Mary Zouch , square - jawed and pale , are reborn among the Sloane Rangers outside Harrods . " Here is ...
Pagina 1748
... face he cut open in a squabble about artichokes . He was sued for libel in Rome and mutilated in a tavern brawl in Naples . He was saturnine , coarse and queer . He thrashed about in the etiquette of early seicento cultivation like a ...
... face he cut open in a squabble about artichokes . He was sued for libel in Rome and mutilated in a tavern brawl in Naples . He was saturnine , coarse and queer . He thrashed about in the etiquette of early seicento cultivation like a ...
Overige edities - Alles bekijken
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 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