By Sybil Gordon Kantor
Turning out to be up with the 20 th century, Alfred Barr (1902-1981), founding director of the Museum of contemporary artwork, harnessed the cataclysm that was once modernism. during this book—part highbrow biography, half institutional history—Sybil Gordon Kantor tells the tale of the increase of contemporary paintings in the US and of the fellow answerable for its triumph. Following the trajectory of Barr's occupation from the Twenties throughout the Nineteen Forties, Kantor penetrates the myths, either confident and damaging, that encompass Barr and his achievements.
Barr fervently believed in a cultured in line with the intrinsic features of a piece of artwork and the fabrics and strategies curious about its production. Kantor exhibits how this formalist strategy used to be expressed within the organizational constitution of the multidepartmental museum itself, whose collections, exhibitions, and courses all expressed Barr's imaginative and prescient. whilst, she indicates how Barr's skill to reconcile classical objectivity and mythic irrationality allowed him to understand modernism as an open-ended phenomenon that multiplied past purist summary modernism to incorporate surrealist, nationalist, realist, and expressionist art.
Drawing on interviews with Barr's contemporaries in addition to on Barr's huge correspondence, Kantor additionally paints vibrant pics of, between others, Jere Abbott, Katherine Dreier, Henry-Russell Hitchcock, Philip Johnson, Lincoln Kirstein, Agnes Mongan, J. B. Neumann, and Paul Sachs.
Read or Download Alfred H. Barr, Jr. and the Intellectual Origins of the Museum of Modern Art PDF
Best art history books
Why may a wise ny funding banker pay $12 million for the decaying, filled carcass of a shark? via what alchemy does Jackson Pollock’s drip portray No. five, 1948 promote for $140 million?
interesting and interesting, The $12 Million crammed Shark is a Freakonomics method of the economics and psychology of the modern artwork global. Why have been list costs completed at public sale for works by means of 131 modern artists in 2006 on my own, with wonderful new heights reached in 2007? Don Thompson explores the money, lust, and self-aggrandizement of the artwork global in an try to be sure what makes a specific paintings beneficial whereas others are ignored.
This ebook is the 1st to examine the economics and the selling options that allow the trendy paintings industry to generate such astronomical costs. Drawing on interviews with either previous and current executives of public sale homes and paintings dealerships, artists, and the purchasers who stream the marketplace, Thompson launches the reader on a trip of discovery during the extraordinary global of recent paintings. marvelous, passionate, gossipy, revelatory, The $12 Million filled Shark unearths greatly that even skilled auction buyers don't know.
A learn of The Metropolitan Museum of Art's acquisition, "The "Kearsarge" at Boulogne", through Edouard Manet (1832-1883). in the course of the American Civil warfare, whilst Union forces blocked accomplice ports, the Confederacy countered via waging guerrilla battle on Union service provider transport. the most expert accomplice raiders used to be the sloop-of-war "Alabama".
City realism, snow-covered streets of latest York, boxing suits, little ones at the banks of a river, the painters of the Ash Can university most popular reasonable photographs. Their work are a real hymn to noise and sensations. This unconventional flow enabled the start of a real nationwide inventive identification which broke loose from the institution.
During this exciting ebook, E. H. Gombrich, who used to be one of many world’s premiere paintings historians, strains how forged shadows were depicted in Western paintings throughout the centuries. Gombrich discusses the best way shadows have been represented—or ignored—by artists from the Renaissance to the seventeenth century after which describes how Romantic, Impressionist, and Surrealist artists exploited the machine of the solid shadow to augment the appearance of realism or drama of their representations.
- Neo-Baroque Aesthetics and Contemporary Entertainment (Media in Transition)
- Curation: The Power of Selection in a World of Excess
- Things of the Spirit: Art and Healing in the American Body Politic, 1929-1941
- La Photographie érotique
Additional resources for Alfred H. Barr, Jr. and the Intellectual Origins of the Museum of Modern Art
Along with his rectitude, Barr assumed a personal manner and form that eschewed any display of emotional response in his aesthetic activities. Barr explained away his “coldness” when he wrote to Gauss: You called me impersonal and artistic—lost in the extreme—I wonder if you believe the former quality truly characteristic. As for the latter I must be very careful—true artistry is that which is self-concealed. But impersonal? It is a position not a point of view, a frame of mind, a coat of mail which I have cultivated for years and now that it is become a habit I am “hoist by my own petard” in the most tragic manner.
I have completely rearranged the Modern Painting course. It took eight and a half hours merely to plan it. A continuous urge to learn more, to understand what before was woefully superficial—and then I have no energy for anything else and I am far behind in sleep. 47 On November 14, the Vassar Miscellany News reported that the Kandinsky exhibition was the subject of much discussion by both students and professors, none of whom seemed to be sympathetic. The editor wrote that the quality of newness could be legitimate but dangerous because it allowed so many poseurs who paint “tortured cubes and inebriated squares and call them ‘The Temptation of St.
34 Barr’s letters to Gauss, in a correspondence that bespeaks the emerging maturation of a young man in his twenties, are the most revealing personal source of his contradictory, complex character—unyielding in the face of opposition to his programs and, at the same time, retiring and modest. He had the ability to be selfdisciplined, self-taught, self-directed while seeming to participate in the group action so necessary to promoting and establishing a new movement. His letters are 11 12 PROLOGUE full of humor, tenderness, sensitivity, erudition, and poetry, as well as expressions of unrequited love, as Barr positioned himself as teacher, his most comfortable role, to Katherine Gauss, a girl he was trying to impress.