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 1724
... Paris School, most of whom except Picasso and Braque were dead. Several important younger artists were alive and at work: Giacometti, Dubuffet, Balthus, Hélion. One could certainly believe that the tanks were not emptying. Yet today ...
... Paris School, most of whom except Picasso and Braque were dead. Several important younger artists were alive and at work: Giacometti, Dubuffet, Balthus, Hélion. One could certainly believe that the tanks were not emptying. Yet today ...
Pagina 1726
... Paris . Up to a certain point , the grit , dirt and struggle of Manhattan were a stimulus to artists : all kinds of special poetries and particular looks arose from its aggressive materialism — until the late eighties , when the sheer ...
... Paris . Up to a certain point , the grit , dirt and struggle of Manhattan were a stimulus to artists : all kinds of special poetries and particular looks arose from its aggressive materialism — until the late eighties , when the sheer ...
Pagina 1727
... Paris was no Utopia either , except for the few , and many Londoners two hundred years ago experienced their city as New Yorkers do today : money - mad and dangerous to live in , threatened by a large " criminal class " and sapped by ...
... Paris was no Utopia either , except for the few , and many Londoners two hundred years ago experienced their city as New Yorkers do today : money - mad and dangerous to live in , threatened by a large " criminal class " and sapped by ...
Pagina 1732
... Paris may be remembered - if it comes off - as one of the last of its kind . When the Metropolitan Museum of Art's “ Van Gogh at Arles " was being planned in the early eighties , it was assigned a global insurance value of $ 1 billion ...
... Paris may be remembered - if it comes off - as one of the last of its kind . When the Metropolitan Museum of Art's “ Van Gogh at Arles " was being planned in the early eighties , it was assigned a global insurance value of $ 1 billion ...
Pagina 1736
... Paris in 1641, “I should be forced to become a strappazzone [hack] like all the other artists here. Studies and valuable observations from the antique and other sources are completely unknown.” Yet by 1670 Rome's decline as a center for ...
... Paris in 1641, “I should be forced to become a strappazzone [hack] like all the other artists here. Studies and valuable observations from the antique and other sources are completely unknown.” Yet by 1670 Rome's decline as a center for ...
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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