History of Modern Art

835 Pages·2012·146.01 MB·English

by  H. H. Arnason

About the authors
The late H.H. Arnason was a distinguished art historian, educator,
and museum administrator who for many years was Vice President
for Art Administration of the Solomon Guggenheim Museum in
New York. He began his professional life in academe, teaching at
Northwestern University, University of Chicago, and University of
Hawaii. From 1947 to 1961, Arnason was Professor and Chairman
of the Department of Art at the University of Minnesota.
(cid:41)(cid:80)(cid:77)(cid:94)(cid:69)(cid:70)(cid:73)(cid:88)(cid:76)(cid:3)(cid:39)(cid:18)(cid:3)(cid:49)(cid:69)(cid:82)(cid:87)(cid:189)(cid:73)(cid:80)(cid:72) is Vice
President for Scholarly Programs
at the National Humanities Center
in Research Triangle Park, North
Carolina. She has taught art history
at New York University and the
University of the South in Sewanee,
Tennessee. A scholar of modern
European art and art historiography,
her publications include books and
articles on topics ranging from the
origins of modernism to Picasso’s
Demoiselles d’Avignon to the contemporary Performance and Body
art of Orlan. Her 2007 book Too Beautiful to Picture: Zeus, Myth, and
Mimesis was awarded the College Art Association’s Charles Rufus
Morey book prize.
About Pearson
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students. Your purchase of this book enables an annual cash prize
to the recipients of the College Art Association’s Distinguished
Teaching awards. For a complete list of our books, please visit:
www.pearsonhighered.com/art.
HISTORY
OF
MODERN ART
PAINTING SCULPTURE ARCHITECTURE PHOTOGRAPHY
SEVENTH EDITION

H I S T O R Y
OF
M O D E R N A R T
PAINTING SCULPTURE ARCHITECTURE PHOTOGRAPHY
SEVENTH EDITION
H.H. ARNASON
ELIZABETH C. MANSFIELD
National Humanities Center
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Cover photo: Marcel Duchamp, Nude Descending a Staircase, No. 2, 1912 (detail). Oil on canvas,
58 (cid:2) 35” (147.3 (cid:2) 88.9 cm). Philadelphia Museum of Art.
page 2: Georges Seurat, A Sunday Afternoon on the Island of La Grande Jatte, 1884–86 (detail).
Oil on canvas, 6’ 91⁄ ” (cid:2) 10’ 11⁄” (2.1 (cid:2) 3.1 m). The Art Institute of Chicago.
2 4
Credits and acknowledgments borrowed from other sources and reproduced, with permission, in
this textbook appear on the appropriate page within text or in the picture credits on pages 809–16.
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Library of Congress Cataloging-in-Publication Data
Arnason, H. Harvard, author.
History of modern art : painting, sculpture, architecture, photog-
raphy
/ H.H. Arnason, Elizabeth C. Mansfield, National Humanities
Center. --
Seventh Edition.
pages cm
Includes bibliographical references and index.
ISBN-13: 978-0-205-25947-2 (pbk.)
ISBN-10: 0-205-25947-2 (pbk.)
1. Art, Modern. I. Mansfield, Elizabeth - author. II. Title.
N6490.A713 2013
709.04--dc23
2012029474
10 9 8 7 6 5 4 3 2 1
ISBN 10: 0-205-25947-2
ISBN 13: 978-0-205-25947-2
Contents
xii
Preface 3
xiii Post-Impressionism
Acknowledgments 42
xiv The Poetic Science of Color: Seurat and the
Why Use this Seventh Edition
Neo-Impressionists 43
Chapter-by-chapter Revisions xiv Form and Nature: Paul Cézanne 45
Early Career and Relation to Impressionism 46
Later Career 48
The Triumph of Imagination: Symbolism 50
1 Reverie and Representation: Moreau, Puvis, and
Redon 50
The Origins of Modern Art 1 The Naive Art of Henri Rousseau 52
An Art Reborn: Rodin and Sculpture at the
SOURCE: Théophile Gautier, Preface to Mademoiselle de Fin de Siècle 53
Maupin(1835) 2
Early Career and The Gates of Hell 54
Making Art and Artists: The Role of the Critic 2
The Burghers of Calais and Later Career 56
A Marketplace for Art 3
Exploring New Possibilities: Claudel and Rosso 58
CONTEXT: Modernity and Modernism 3
Primitivism and the Avant-Garde: Gauguin and
The Modern Artist 3
Van Gogh 59
What Does It Mean to Be an Artist?: From Academic Emulation
Gauguin 59
toward Romantic Originality 4
SOURCE: Paul Gauguin, from Noa Noa (1893) 61
Making Sense of a Turbulent World: The Legacy of
Van Gogh 62
Neoclassicism and Romanticism 5
SOURCE: Vincent van Gogh, from a letter to his brother
History Painting 6
Theo van Gogh, August 6, 1888 62
TECHNIQUE: Printmaking Techniques 6 A New Generation of Prophets: The Nabis 64
Landscape Painting 9
Vuillard and Bonnard 65
Montmartre: At Home with the Avant-Garde 67
2
The Search for Truth: Early 4
Photography, Realism, and Arts and Crafts, Art Nouveau, and the
Impressionism Beginnings of Expressionism
14 70
New Ways of Seeing: Photography and its Influence 14 “A Return to Simplicity”: The Arts and Crafts Movement
TECHNIQUE: Daguerreotype versus Calotype 15 and Experimental Architecture 70
Only the Truth: Realism 20 Experiments in Synthesis: Modernism beside the Hearth 72
France 20 SOURCE: Walter Pater, from the Conclusion to Studies in
England 22 the History of the Renaissance (1873) 74
Seizing the Moment: Impressionism and the With Beauty at the Reins of Industry: Aestheticism and
Avant-Garde 24 Art Nouveau 74
Manet and Whistler 24 Natural Forms for the Machine Age: The Art Nouveau
From Realism to Impressionism 28 Aesthetic 76
Nineteenth-Century Art in the United States 36 Painting and Graphic Art 76
SOURCE: Charles Baudelaire, from his SOURCE: Sigmund Freud, from The Interpretation of
“Salon of 1859” 36 Dreams (1899) 78
Later Nineteenth-Century American Art 37 Art Nouveau Architecture and Design 79
CONTENTS V
Toward Expressionism: Late Nineteenth-Century 7
Avant-Garde Painting beyond France 84
Cubism
Scandinavia 84 136
Northern and Central Europe 87
Immersed in Tradition: Picasso’s Early Career 137
Barcelona and Madrid 137
5 Blue and Rose Periods 137
CONTEXT: Women as Patrons of the Avant-Garde 140
The New Century: Les Demoiselles d’Avignon 142
Experiments in Color and Form Beyond Fauvism: Braque’s Early Career 144
90
“Two Mountain Climbers Roped Together”: Braque,
Fauvism 90 Picasso, and the Development of Cubism 146
“Purity of Means” in Practice: Henri Matisse’s Analytic Cubism, 1909–11 147
Early Career 91 Synthetic Cubism, 1912–14 152
Earliest Works 91 TECHNIQUE: Collage 152
Matisse’s Fauve Period 92 Constructed Spaces: Cubist Sculpture 155
SOURCE: Charles Baudelaire, Invitation to the Voyage Braque and Picasso 155
(1857) 93 Archipenko 157
The Influence of African Art 97 Duchamp-Villon 158
“Wild Beasts” Tamed: Derain, Vlaminck, and Dufy 99 Lipchitz 158
Religious Art for a Modern Age: Georges Rouault 101 Laurens 159
The Belle Époque on Film: The Lumière Brothers and An Adaptable Idiom: Developments in Cubist Painting in
Lartigue 102 Paris 160
CONTEXT: Early Motion Pictures 102 Gris 160
Modernism on a Grand Scale: Matisse’s Art Gleizes and Metzinger 162
after Fauvism 103 Léger 163
Forms of the Essential: Constantin Brancusi 106 Other Agendas: Orphism and Other Experimental Art in
Paris, 1910–14 163
Duchamp 166
6
Expressionism in Germany
and Austria
111
8
From Romanticism to Expressionism: Corinth and
Early Modern Architecture
Modersohn-Becker 112 169
SOURCE:Paula Modersohn-Becker, Letters and “Form Follows Function”: The Chicago School and the
Journal 113 Origins of the Skyscraper 169
Spanning the Divide between Romanticism and SOURCE: Louis Sullivan, “The Tall Office Building
Expressionism: Die Brücke 114 Artistically Considered” (1896) 172
Kirchner 114 Modernism in Harmony with Nature: Frank Lloyd
TECHNIQUE:Woodcuts and Woodblock Prints 117 Wright172
Nolde 117 Early Houses 173
Heckel, Müller, Pechstein, and Schmidt-Rottluff 118 The Larkin Building 175
Die Brücke’s Collapse 121 Mid-Career Crisis 176
The Spiritual Dimension: Der Blaue Reiter 121 Temples for the Modern City: American Classicism
Kandinsky 122 1900–15 176
Münter 124 New Simplicity Versus Art Nouveau: Vienna Before World
Werefkin 125 War I 177
Marc 126 Tradition and Innovation: The German Contribution to
Macke 127 Modern Architecture 179
Jawlensky 128 Behrens and Industrial Design 180
Klee 128 CONTEXT: The Human Machine: Modern
Feininger 129 Workspaces 180
Expressionist Sculpture 130 Expressionism in Architecture 181
Self-Examination: Expressionism in Austria 132 Toward the International Style: The Netherlands and
Schiele 132 Belgium 183
Kokoschka 133 Berlage and Van de Velde 183
CONTEXT: The German Empire 134 TECHNIQUE: Modern Materials 184
New Materials, New Visions: France in the Early
Twentieth Century 184
VVII CCOONNTTEENNTTSS
9 11
European Art after Cubism Art in France after World War I
186 242
Fantasy Through Abstraction: Chagall and the Metaphysical Eloquent Figuration: Les Maudits 242
School 186 Modigliani 242
Chagall 187 Soutine 243
De Chirico and the Metaphysical School 188 Utrillo 245
“Running on Shrapnel”: Futurism in Italy 189 Dedication to Color: Matisse’s Later Career 246
SOURCE: Filippo Tommaso Marinetti, from The Founding Response to Cubism, 1914–16 246
and Manifesto of Futurism 189 Renewal of Coloristic Idiom, 1917–c. 1930 247
Balla 191 An Art of Essentials, c. 1930–54 249
Bragaglia 192 CONTEXT: Matisse in Merion, Pennsylvania 250
Severini 192 Celebrating the Good Life: Dufy’s Later Career 250
Carrà 194 Eclectic Mastery: Picasso’s Career after the War 250
Boccioni 194 Parade and Theatrical Themes 252
Sant’Elia 196 CONTEXT: Diaghilev’s Ballets Russes 253
“Our Vortex is Not Afraid”: Wyndham Lewis and Postwar Classicism 254
Vorticism 197 Cubism Continued 255
CONTEXT: The Omega Workshops 197 Guernica and Related Works 257
A World Ready for Change: The Avant-Garde in Sensuous Analysis: Braque’s Later Career 258
Russia 198 Austerity and Elegance: Léger, Le Corbusier, and
Larionov, Goncharova, and Rayonism 199 Ozenfant 259
Popova and Cubo-Futurism 200
Malevich and Suprematism 202
12
El Lissitzky’s Prouns 204
TECHNIQUE: Axonometry 204 Clarity, Certainty, and Order:
Kandinsky in the Early Soviet Period 205
De Stijl and the Pursuit of
Utopian Visions: Russian Constructivism 207
Innovations in Sculpture 207 Geometric Abstraction
262
Tatlin 207
Rodchenko 209 The de Stijl Idea 262
Stepanova and Rozanova 210 SOURCE: De Stijl “Manifesto 1” (1918, published in
Pevsner, Gabo, and the Spread of Constructivism 211 de Stijl in 1922) 262
Mondrian: Seeking the Spiritual Through the Rational 263
Early Work 263
10
Neoplasticism 264
Picturing the Wasteland: Western The Break with de Stijl 266
Van Doesburg, de Stijl, and Elementarism 268
Europe during World War I
213 De Stijl Realized: Sculpture and Architecture 270
Vantongerloo 271
CONTEXT:The Art of Facial Prosthetics 213
Van ’t Hoff and Oud 271
The World Turned Upside Down: The Birth of Dada 214
Rietveld 272
The Cabaret Voltaire and Its Legacy 214
Van Eesteren 274
Arp 216
“Her Plumbing and Her Bridges”: Dada Comes to
America 218 13
Duchamp’s Early Career 219
Bauhaus and the Teaching
SOURCE: Anonymous (Marcel Duchamp), “The Richard
Mutt Case” 221 of Modernism
275
Duchamp’s Later Career 222
Picabia 225 Audacious Lightness: The Architecture of Gropius 275
Man Ray and the American Avant-Garde 226 The Building as Entity: The Bauhaus 277
“Art is Dead”: Dada in Germany 227 SOURCE: Walter Gropius, from the Bauhaus Manifesto
Hausmann, Höch, and Heartfield 228 (1919) 277
Schwitters 230 Bauhaus Dessau 278
Ernst 231 The Vorkurs: Basis of the Bauhaus Curriculum 279
Idealism and Disgust: The “New Objectivity” Moholy-Nagy 279
in Germany 233 Josef Albers 281
Grosz 235 Klee 282
Dix 236 Kandinsky 285
The Photography of Sander and Renger-Patzsch 238 Die Werkmeistern: Craft Masters at the Bauhaus 286
Beckmann 238 Schlemmer 287
CONTEXT:Degenerate Art 240 Stölzl 287
CCOONNTTEENNTTSS VVIIII
Breuer and Bayer 288 A Rallying Place for Modernism: 291 Gallery and the
TECHNIQUE: Industry into Art into Industry 289 Stieglitz Circle 342
Stieglitz and Steichen 343
“The Core from which Everything Emanates”:
International Constructivism and the Bauhaus 289 Weber, Hartley, Marin, and Dove 345
Gabo 289 O’Keeffe 347
Pevsner 291 Straight Photography: Strand, Cunningham, and
Baumeister 292 Adams 349
From Bauhaus Dessau to Bauhaus U.S.A. 292 Coming to America: The Armory Show 350
Mies van der Rohe 292 Sharpening the Focus on Color and Form: Synchromism
Bauhaus U.S.A. 295 and Precisionism 351
Synchromism 351
Precisionism 352
14 The Harlem Renaissance 354
Painting the American Scene: Regionalists and Social
Surrealism
297 Realists 355
Breton and the Background to Surrealism 297 Benton, Wood, and Hopper 356
CONTEXT: Fetishism 298 CONTEXT: American Primitives 356
The Two Strands of Surrealism 299 Bishop, Shahn, and Blume 360
Political Context and Membership 299 CONTEXT: The Sacco and Vanzetti Trial 361
CONTEXT: Trotsky and International Socialism Between Documents of an Era: American Photographers Between
the Wars 300 the Wars 361
“Art is a Fruit”: Arp’s Later Career 300 Social Protest and Personal Pain: Mexican Artists 364
Hybrid Menageries: Ernst’s Surrealist Techniques 302 Rivera 364
Orozco 365
“Night, Music, and Stars”: Miró and Organic–Abstract
Surrealism 304 Siqueiros 366
Methodical Anarchy: André Masson 307 Kahlo 367
Enigmatic Landscapes: Tanguy and Dalí 308 Tamayo 367
Dalí 309 Modotti’s Photography in Mexico 368
SOURCE: Georges Bataille, from The Cruel Practice of Art The Avant-Garde Advances: Toward American
(1949) 309 Abstract Art 368
Exhibitions and Contact with Europe 368
Surrealism beyond France and Spain: Magritte, Delvaux,
Bellmer, Matta, and Lam 313 Davis 369
Matta and Lam 317 Diller and Pereira 370
Avery and Tack 371
Women and Surrealism: Oppenheim, Cahun, Maar,
Tanning, and Carrington 318 Sculpture in America Between the Wars 372
Never Quite “One of Ours”: Picasso and Surrealism 322 Lachaise and Nadelman 372
Painting and Graphic Art, mid-1920s to 1930s 322 Roszak 373
Sculpture, late 1920s to 1940s 324 Calder 374
Pioneer of a New Iron Age: Julio González 325
Surrealism’s Sculptural Language: Giacometti’s
Early Career 326 16
Surrealist Sculpture in Britain: Moore 330
Abstract Expressionism and
Bizarre Juxtapositions: Photography and Surrealism 331
Atget’s Paris 332 the New American Sculpture 377
Man Ray, Kertész, Tabard, and the Manipulated
Image 332 Mondrian in New York: The Tempo of the Metropolis 377
The Development of Photojournalism: Brassaï, Bravo, CONTEXT: Artists and Cultural Activism 379
Model, and Cartier-Bresson 334 Entering a New Arena: Modes of Abstract
An English Perspective: Brandt 337 Expressionism 379
The Picture as Event: Experiments in Gestural Painting 380
Hofmann 380
15 SOURCE: Clement Greenberg, from Modernist Painting
(first published in 1960) 380
American Art Before World War II
338 Gorky 380
American Artist as Cosmopolitan: Romaine Brooks 338 Willem de Kooning 382
Pollock 384
The Truth about America: The Eight and Social
Criticism 339 SOURCE: Harold Rosenberg, from The American Action
Sloan, Prendergast, and Bellows 339 Painters(first published in 1952) 386
SOURCE: Robert Henri, excerpts from The Art Spirit, Krasner 387
a collection of his writings and notes 341 Kline 388
Two Photographers: Riis and Hine 341 Tomlin and Tobey 389
Guston 390
Elaine de Kooning and Grace Hartigan 391
VVIIIIII CCOONNTTEENNTTSS