The liberation of painting : modernism and anarchism in avant-guerre Paris PDF
Preview The liberation of painting : modernism and anarchism in avant-guerre Paris
The LiberaTion of painTing T h e L i b e r aT i o n o f Painting Modernism and anarchism in avant-guerre paris Patricia Leighten University of Chicago Press Chicago and London Patricia Leighten is professor of art history and visual studies at Duke University. She is the author of Re-Ordering the Universe: Picasso and Anarchism, 1894–1914; coauthor of Cubism and Culture; and coeditor of A Cubism Reader: Documents and Criticism, 1906–1914. The University of Chicago Press, Chicago 60637 The University of Chicago Press, Ltd., London © 2013 by Patricia Leighten All rights reserved. Published 2013. Printed in China. 21 20 19 18 17 16 15 14 13 1 2 3 4 5 isbn-13: 978-0-226-47138-9 (cloth) isbn-13: 978-0-226-00242-2 (e-book) isbn-10: 0-226-47138-1 (cloth) Library of Congress Cataloging-in-Publication Data Leighten, Patricia Dee, 1946– The liberation of painting : modernism and anarchism in avant-guerre Paris / Patricia Leighten. pages. cm. Includes bibliographical references and index. isbn 978-0-226-47138-9 (hardcover : alkaline paper)— isbn 978-0-226-00242-2 (e-book) 1. Painting, French— 20th century. 2. Modernism (Art)—France—Paris. 3. Modernism (Aesthetics)—France—Paris. 4. Anarchism and art—France—Paris—History—20th century. 5. Art—Political aspects—France—Paris—History—20th century. I. Title. ND550.L45 2013 759.4’36109041—dc23 ∞ This paper meets the requirements of ansi/niso Z39.48–1992 (Permanence of Paper). Frontispiece Juan Gris, “Bruits de Guerre et Bruits de Paix” (Noises of war and noises of peace), cover, L’assiette au beurre, no. 392, October 3, 1908. to Mark I regularly gave drawings to the journals, from 1895 to 1910. This led me to pay a lot of attention to the streets. I also had to make up the caption, to create a complete situation, in short to grasp reality. There was an equal spirit of protest in my drawings. . . . In this period, the influence of the journals on art is incontestable. Thanks to them, painting was liberated more rapidly from academicism. Above all, one can’t compare the attitude of the journals then with those of today. The press had a progressive spirit and the drawings were not made as now, but with love. Jacques ViLLon, c.1957 Contents xi List of illustrations xvii preface and acknowledgments 1 introduction. Modernist heteroglossia ChaPter 1 17 Languages of art and politics: Salon painting, Caricature, Modernism ChaPter 2 57 The White peril: Colonialism, L’art nègre, and Les Demoiselles d’avignon ChaPter 3 85 a rationale of Ugliness: Cubism and its Critical reception ChaPter 4 111 politics and Counterpolitics of Collage: picasso, gris, and the effects of War ChaPter 5 145 abstracting anarchism: františek Kupka and the project of Modernism 177 Conclusion. a politics of form 181 notes 205 bibliography 223 index
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