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 1733
... 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 one , at the agitated.
... 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 one , at the agitated.
Pagina 1734
... idea of the traveling show was centuries away . Hence art tended to focus on specific acts of commemoration and propaganda - this fresco of the Last Judgment for our local church , this statue of the hired general who saved us from the ...
... idea of the traveling show was centuries away . Hence art tended to focus on specific acts of commemoration and propaganda - this fresco of the Last Judgment for our local church , this statue of the hired general who saved us from the ...
Pagina 1735
... idea of the cultural capital is born . Once the stuff of this cultural stimulus is seen , then systems of interpretation will form around it - the academies , the art schools . Their monopoly of technique adds to the gravitational field ...
... idea of the cultural capital is born . Once the stuff of this cultural stimulus is seen , then systems of interpretation will form around it - the academies , the art schools . Their monopoly of technique adds to the gravitational field ...
Pagina 1738
... idea of an avant - garde was born in the nineteenth century , in the ideas of men such as Baudelaire . And it was linked to city life . Cities inflicted rapid change on human life ; the country stood for slow change , or none at all ...
... idea of an avant - garde was born in the nineteenth century , in the ideas of men such as Baudelaire . And it was linked to city life . Cities inflicted rapid change on human life ; the country stood for slow change , or none at all ...
Pagina 1739
... idea of the capital was carried over to New York City forty years ago . Manhattan was the capital of change the Rome of instability . " Tomorrow's world - today ! " The motto of the 1939 New York World's Fair was also that of America's ...
... idea of the capital was carried over to New York City forty years ago . Manhattan was the capital of change the Rome of instability . " Tomorrow's world - today ! " The motto of the 1939 New York World's Fair was also that of America's ...
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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