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 1720
... idea of “radical” change in painting and sculpture gained its impetus from their traditional primacy and lost it when that primacy was lost. The political leader in 1890 might crave a bronze figure of himself in the square, but that ...
... idea of “radical” change in painting and sculpture gained its impetus from their traditional primacy and lost it when that primacy was lost. The political leader in 1890 might crave a bronze figure of himself in the square, but that ...
Pagina 1724
... idea of the New York painter in a big white downtown loft—bohemia with industrial spaces—is about as real as the notion that French painters wear berets and live in high studios in Montparnasse. The working bohemia of New York artists ...
... idea of the New York painter in a big white downtown loft—bohemia with industrial spaces—is about as real as the notion that French painters wear berets and live in high studios in Montparnasse. The working bohemia of New York artists ...
Pagina 1725
... idea altogether and stay in Chicago . Thus , although Manhattan at the end of the 1980s is rivaled by no other American city as a monumental center and a culture market , its ability to draw in new talent and foster it in ways that make ...
... idea altogether and stay in Chicago . Thus , although Manhattan at the end of the 1980s is rivaled by no other American city as a monumental center and a culture market , its ability to draw in new talent and foster it in ways that make ...
Pagina 1727
... idea of the single , imperial center obsolete . New York , in other words , remains a center but not , as its art world used to imagine , the center . Moreover , its centrality is based mainly on the market , and the market has nothing ...
... idea of the single , imperial center obsolete . New York , in other words , remains a center but not , as its art world used to imagine , the center . Moreover , its centrality is based mainly on the market , and the market has nothing ...
Pagina 1728
... idea . What is certain is that nobody foresaw the hyperinflation of the market ; and that when the bubble bursts , or softly deflates , as bubbles do , nobody will have foreseen that either . Twenty years ago , the idea that any work of ...
... idea . What is certain is that nobody foresaw the hyperinflation of the market ; and that when the bubble bursts , or softly deflates , as bubbles do , nobody will have foreseen that either . Twenty years ago , the idea that any work of ...
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 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