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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... figure of the unnamable Yahweh himself. How could you disagree? On what could you base your trivial act of colonial dissent? A mere reproduction, two inches by three? But Yahweh doesn't show his face in reproductions. He shows it only ...
... figure of the unnamable Yahweh himself. How could you disagree? On what could you base your trivial act of colonial dissent? A mere reproduction, two inches by three? But Yahweh doesn't show his face in reproductions. He shows it only ...
Pagina
... figure of himself in the square, but that kind of propaganda is now archaic—replaced by the forty-five-second attack commercial, as public oratory has been replaced by the sound bite and the managed press conference. When Parisian ...
... figure of himself in the square, but that kind of propaganda is now archaic—replaced by the forty-five-second attack commercial, as public oratory has been replaced by the sound bite and the managed press conference. When Parisian ...
Pagina
... figure in a market where a Jasper Johns had made $17.7 million, a Pontormo over $35 million, a small Picasso self-portrait $47 million, a large, mediocre and unfinished Picasso, Les Noces de Pierrette, $53.1 million, a van Gogh $53.9 ...
... figure in a market where a Jasper Johns had made $17.7 million, a Pontormo over $35 million, a small Picasso self-portrait $47 million, a large, mediocre and unfinished Picasso, Les Noces de Pierrette, $53.1 million, a van Gogh $53.9 ...
Pagina
... figure's pudgy hand: not a god, but a pouting, weary-eyed model in costume, his crown of vine leaves rendered with sparkling exuberance, his flesh slack and tallowy, and half the fruit bruised or rotten. No other Italian artist of the ...
... figure's pudgy hand: not a god, but a pouting, weary-eyed model in costume, his crown of vine leaves rendered with sparkling exuberance, his flesh slack and tallowy, and half the fruit bruised or rotten. No other Italian artist of the ...
Pagina
... figure, moving in deep space in all its pathos and grandeur, as the basic unit of art—the one that provokes the strongest plastic feelings by mobilizing our sense of our own bodies. He freed it from the musty envelope of allegory by ...
... figure, moving in deep space in all its pathos and grandeur, as the basic unit of art—the one that provokes the strongest plastic feelings by mobilizing our sense of our own bodies. He freed it from the musty envelope of allegory by ...
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