Toby Norris – författare
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3 produkter
3 produkter
Inbunden, Engelska, 2023
1 335 kr
Skickas inom 5-8 vardagar
Marginal to Mainstream: French Modernism Between the Wars traces the near-miraculous progress of modern art in France in the first half of the twentieth century. Before World War I, it was a marginal phenomenon, largely absent from the museums and bought and sold by a handful of second-string dealers; by the early 1950s it had been canonized as the representative form of the epoch. The triumph of modernism, and the simultaneous establishment of Paris as the crucible of modern art, were not the products of a coherent policy but of a stumbling and spasmodic process. France was the leading democratic nation in Europe, and it wanted its art to reinforce its prestige on the international stage, but no-one could agree how best to achieve this. Toby Norris shows how, amidst the policy squabbles and in-fighting of representative government, France fumbled its way toward an art of democracy and in the process helped install modern art as the house style of democratic capitalism.
E-bok
Engelska, 20231 477 kr
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Marginal to Mainstream: French Modernism Between the Wars traces the near-miraculous progress of modern art in France in the first half of the twentieth century. Before World War I, it was a marginal phenomenon, largely absent from the museums and bought and sold by a handful of second-string dealers; by the early 1950s it had been canonized as the representative form of the epoch. The triumph of modernism, and the simultaneous establishment of Paris as the crucible of modern art, were not the products of a coherent policy but of a stumbling and spasmodic process. France was the leading democratic nation in Europe, and it wanted its art to reinforce its prestige on the international stage, but no-one could agree how best to achieve this. Toby Norris shows how, amidst the policy squabbles and in-fighting of representative government, France fumbled its way toward an art of democracy and in the process helped install modern art as the house style of democratic capitalism.
Inbunden, Engelska, 2009
1 130 kr
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Academics, Pompiers, Official Artists and the Arrière-garde: Defining Modern and Traditional in France, 1900-1960 is a collection of eight essays and a scholarly introduction by established and emerging scholars that challenges the continuing modernist slant of twentieth-century art history. The intention is not to perpetuate the vulgar opposition between avant-garde and reactionary art that characterized early-twentieth-century discourse and has marked much subsequent historical writing, but rather to investigate the complex relationship that both innovative and conservative artists had to the concept of tradition. How did artists and art critics conceive of tradition in relation to modernity? What was the role of an artist's institutional positioning in determining expectations for his or her art? What light is thrown on the structure of the French art world by considering artists from abroad who worked in Paris? How did the war alter modernist and avant-garde paradigms and force crucial changes upon art production in the postwar period to 1960?Particular attention is paid to the terms academic, pompier, official, and arrière-garde, originally used to situate the more conservative artists and works as second-rate or as the negative foil to the assumed radicalism of the avant-garde. By re-evaluating the work of artists pushed to the historical margins by such polemical descriptors, and by proposing alternative understandings of the aesthetic, economic, institutional and political factors that drive our ideas of avant-gardism and the modernist narrative in France, this collection of essays offers new routes to explore the terrain of twentieth-century art in France.