Jonathan Harris teaches Art History in the School of Architecture at the University of Liverpool. He has published widely on art and art history, specializing in twentieth-century American art, the rise of the ‘new art history’, and the relations between art history and social theory. His recent publications include Critical Perspectives on Contemporary Painting: Hybridity, Hegemony, Historicism (2003) and The New Art History: A Critical Introduction (Routledge, 2001).

Select Guide Rating

• Introduction; Looking and writing back; Composition and self-composition; Class, glass, and opacity; Modernism, the decay of collective style, and the past of art; . . . Not just interpreters, collaborators’? The subject object; ‘Narcissus looking interminably into the unclean mirror . . .’ 1 Modernism’s modern art 2 Pure formality: 1960s abstract painting 3 Pollock, or ‘abstraction’ 4 Cubism’s complexities 5 The materials of seeing: Cézanne and Van Gogh 6 Modernism’s Manet, Conclusion: ‘post’ script

Jonathan Harris teaches Art History in the School of Architecture at the University of Liverpool. He has published widely on art and art history, specializing in twentieth-century American art, the rise of the ‘new art history’, and the relations between art history and social theory. His recent publications include Critical Perspectives on Contemporary Painting: Hybridity, Hegemony, Historicism (2003) and The New Art History: A Critical Introduction (Routledge, 2001).

Select Guide Rating

• Introduction; Looking and writing back; Composition and self-composition; Class, glass, and opacity; Modernism, the decay of collective style, and the past of art; . . . Not just interpreters, collaborators’? The subject object; ‘Narcissus looking interminably into the unclean mirror . . .’ 1 Modernism’s modern art 2 Pure formality: 1960s abstract painting 3 Pollock, or ‘abstraction’ 4 Cubism’s complexities 5 The materials of seeing: Cézanne and Van Gogh 6 Modernism’s Manet, Conclusion: ‘post’ script

Jonathan Harris teaches Art History in the School of Architecture at the University of Liverpool. He has published widely on art and art history, specializing in twentieth-century American art, the rise of the ‘new art history’, and the relations between art history and social theory. His recent publications include Critical Perspectives on Contemporary Painting: Hybridity, Hegemony, Historicism (2003) and The New Art History: A Critical Introduction (Routledge, 2001).

Select Guide Rating

• Introduction; Looking and writing back; Composition and self-composition; Class, glass, and opacity; Modernism, the decay of collective style, and the past of art; . . . Not just interpreters, collaborators’? The subject object; ‘Narcissus looking interminably into the unclean mirror . . .’ 1 Modernism’s modern art 2 Pure formality: 1960s abstract painting 3 Pollock, or ‘abstraction’ 4 Cubism’s complexities 5 The materials of seeing: Cézanne and Van Gogh 6 Modernism’s Manet, Conclusion: ‘post’ script