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 1719
... pictures (that would begin in 1888, with George Eastman's preloaded cameras), and halftone reproduction, which put photographs on the pages of the daily press, was still uncommon. Cinema was not quite born (Louis Lumière invented the ...
... pictures (that would begin in 1888, with George Eastman's preloaded cameras), and halftone reproduction, which put photographs on the pages of the daily press, was still uncommon. Cinema was not quite born (Louis Lumière invented the ...
Pagina 1728
... picture worth ? One bid below what someone would pay for it . And what would that person pay for it ? Basically what he or she could borrow . And how much art could dance for how long on that particular pinhead ? Nobody had , or has ...
... picture worth ? One bid below what someone would pay for it . And what would that person pay for it ? Basically what he or she could borrow . And how much art could dance for how long on that particular pinhead ? Nobody had , or has ...
Pagina 1746
... No other group of Renaissance drawings offers so vivid a picture of a class . They are as fraught with human interest as any court memoir by Hervey or Saint - Simon . Time , 1983 Caravaggio " The Age of Caravaggio , " the Metropolitan.
... No other group of Renaissance drawings offers so vivid a picture of a class . They are as fraught with human interest as any court memoir by Hervey or Saint - Simon . Time , 1983 Caravaggio " The Age of Caravaggio , " the Metropolitan.
Pagina 1751
... picture . Above all , he brought to the human figure a renewed sense of design . Caravaggio's work moves from clutter toward simplicity : tracing their signs for energy and pathos in the dark , his bodies acquire a formidable power of ...
... picture . Above all , he brought to the human figure a renewed sense of design . Caravaggio's work moves from clutter toward simplicity : tracing their signs for energy and pathos in the dark , his bodies acquire a formidable power of ...
Pagina 1759
... we have no formal portraiture of any value . In looking at portraits , we project ourselves on the past . We routinely call Velázquez's pictures of dwarfs " compassionate , " not because we know what Velázquez felt about dwarfs but.
... we have no formal portraiture of any value . In looking at portraits , we project ourselves on the past . We routinely call Velázquez's pictures of dwarfs " compassionate , " not because we know what Velázquez felt about dwarfs but.
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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