HISTORY OF MODERN ART PAINTING SCULPTURE ARCHITECTURE PHOTOGRAPHY

SEVENTH EDITION

LK024_P0001EDarmason_HoMA_FM_Combined.indd i 14/09/2012 15:49 LK024_P0001EDarmason_HoMA_FM_Combined.indd ii 14/09/2012 15:49 HISTORY OF MODERN ART PAINTING SCULPTURE ARCHITECTURE PHOTOGRAPHY

SEVENTH EDITION

H.H. ARNASON

ELIZABETH C. MANSFIELD National Humanities Center

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LK024_P0001EDarmason_HoMA_FM_Combined.indd iii 14/09/2012 15:49 Editorial Director: Craig Campanella This book was designed and produced by Editor-in-Chief: Sarah Touborg Laurence King Publishing Ltd, London Senior Sponsoring Editor: Helen Ronan www.laurenceking.com Editorial Assistant: Victoria Engros Production Manager: Simon Walsh Vice President, Director of Marketing: Brandy Dawson Page Design: Robin Farrow Executive Marketing Manager: Kate Mitchell Photo Researcher: Emma Brown Editorial Project Manager: David Nitti Copy Editor: Lis Ingles Production Liaison: Barbara Cappuccio Managing Editor: Melissa Feimer Senior Operations Supervisor: Mary Fischer Operations Specialist: Diane Peirano Senior Digital Media Editor: David Alick Media Project Manager: Rich Barnes

Cover photo: Marcel Duchamp, Nude Descending a Staircase, No. 2, 1912 (detail). Oil on canvas, 58 ϫ 35” (147.3 ϫ 88.9 cm). Philadelphia Museum of Art.

page 2: Georges Seurat, A Sunday Afternoon on the Island of La Grande Jatte, 1884–86 (detail). 1 1 Oil on canvas, 6’ 9 ∕2” ϫ 10’ 1 ∕4” (2.1 ϫ 3.1 m). The Art Institute of Chicago.

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

LK024_P0004EDarmason_HoMA_FM_Combined.indd iv 04/10/2012 18:20 Contents

Preface xii 3 Acknowledgments xiii Post-Impressionism 42 Why Use this Seventh Edition xiv The Poetic Science of Color: Seurat and the 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 Reverie and Representation: Moreau, Puvis, and 1 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 14 Beginnings of Expressionism 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

LK024_P0004EDarmason_HoMA_FM_Combined.indd v 04/10/2012 18:20 Toward Expressionism: Late Nineteenth-Century 7 Avant-Garde Painting beyond France 84 Scandinavia 84 Cubism 136 Northern and Central Europe 87 Immersed in Tradition: Picasso’s Early Career 137 Barcelona and Madrid 137 Blue and Rose Periods 137 5 CONTEXT: Women as Patrons of the Avant-Garde 140 The New Century: Les Demoiselles d’Avignon 142 Beyond Fauvism: Braque’s Early Career 144 Experiments in Color and Form 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 Modersohn-Becker 112 Early Modern Architecture 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 Wright 172 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

VI CONTENTS

LK024_P0004EDarmason_HoMA_FM_Combined.indd vi 04/10/2012 18:20 9 11 European Art after Cubism 186 Art in France after World War I 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 El Lissitzky’s Prouns 204 12 TECHNIQUE: Axonometry 204 Kandinsky in the Early Soviet Period 205 Clarity, Certainty, and Order: Utopian Visions: Russian Constructivism 207 De Stijl and the Pursuit of Innovations in Sculpture 207 262 Tatlin 207 Geometric Abstraction 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 The Break with de Stijl 266 Picturing the Wasteland: Western 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 Duchamp’s Early Career 219 13 SOURCE: Anonymous (Marcel Duchamp), “The Richard Bauhaus and the Teaching Mutt Case” 221 275 Duchamp’s Later Career 222 of Modernism 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

CONTENTS VII

LK024_P0001EDarmason_HoMA_FM_Combined.indd vii 14/09/2012 15:49 Breuer and Bayer 288 A Rallying Place for Modernism: 291 Gallery and the TECHNIQUE: Industry into Art into Industry 289 Stieglitz Circle 342 “The Core from which Everything Emanates”: Stieglitz and Steichen 343 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: CONTEXT: Fetishism 298 American Primitives 356 The Two Strands of Surrealism 299 Bishop, Shahn, and Blume 360 CONTEXT: Political Context and Membership 299 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 “Night, Music, and Stars”: Miró and Organic–Abstract Orozco 365 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 Surrealism beyond France and Spain: Magritte, Delvaux, Exhibitions and Contact with Europe 368 Bellmer, Matta, and Lam 313 Davis 369 Matta and Lam 317 Diller and Pereira 370 Women and Surrealism: Oppenheim, Cahun, Maar, Avery and Tack 371 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 Bizarre Juxtapositions: Photography and Surrealism 331 Abstract Expressionism and 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 The Truth about America: The Eight and Social Pollock 384 SOURCE: Criticism 339 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

VIII CONTENTS

LK024_P0008EDarmason_HoMA_FM_Combined.indd viii 04/10/2012 18:22 Complex Simplicities: Color Field Painting 392 Marvels of Daily Life: European Photographers 442 Rothko 392 Sudek 442 Newman 395 Bischof 443 Still 396 Doisneau 443 Reinhardt 396 Gottlieb 397 Motherwell 398 18 Baziotes 400 444 Drawing in Steel: Constructed Sculpture 401 Nouveau Réalisme and Fluxus Smith and Dehner 401 CONTEXT: The Marshall Plan and the “Marilyn Monroe Di Suvero and Chamberlain 404 Doctrine” 444 Textures of the Surreal: Biomorphic Sculpture and SOURCE: Manifesto of Nouveau Réalisme, signed October Assemblage 404 27, 1960 445 Noguchi 404 “Sensibility in Material Form”: Klein 445 Bourgeois 405 Tinguely and Saint-Phalle 447 Cornell 406 Arman 449 Nevelson 407 César 449 Expressive Vision: Developments in American Raysse 450 Photography 408 Christo and Jeanne-Claude 450 Capa and Miller 408 Rotella and Manzoni 451 White, Siskind, and Porter 408 Fluxus 452 Levitt and DeCarava 409 CONTEXT: The Situationists 453 Ono and Beuys 454

17 19 Postwar European Art 411 Taking Chances with CONTEXT: Samuel Beckett and the Theater of 456 the Absurd 411 Popular Culture Re-evaluations and Violations: Figurative Art in France 412 “This is Tomorrow”: Pop Art in Britain 456 Picasso 412 Hamilton and Paolozzi 457 Giacometti 412 SOURCE: Marshall McLuhan, from Understanding Media: Richier 414 The Extensions of Man (1964) 457 Balthus 415 Blake and Kitaj 458 Dubuffet 416 Hockney 459 A Different Art: Abstraction in France 418 Signs of the Times: Assemblage and Pop Art in the United Fautrier, Van Velde, Hartung, and Soulages 418 States 460 Wols, Mathieu, Riopelle, and Vieira da Silva 420 Rauschenberg 460 De Staël 422 Johns 462 “Pure Creation”: Concrete Art 423 TECHNIQUE: Encaustic 464 Bill and Lohse 423 Getting Closer to Life: Happenings and Environments 466 Postwar Juxtapositions: Figuration and Abstraction in Italy Kaprow, Grooms, and Early Happenings 466 and Spain 425 Segal 468 Morandi 425 Oldenburg 469 Marini and Manzù 426 “Just Look at the Surface”: The Imagery of Afro 427 Everyday Life 471 Fontana 428 Dine 471 SOURCE: Lucio Fontana, from The White Manifesto Samaras and Artschwager 472 (1946) 429 Rivers 474 Burri 430 Lichtenstein 475 Tàpies 430 Warhol 476 “Forget It and Start Again”: The CoBrA Artists and Rosenquist, Indiana, and Wesselmann 478 Hundertwasser 431 TECHNIQUE: Screenprinting 479 Jorn 431 Axell, Marisol, and Sister Corita 481 Appel 431 Poetics of the “New Gomorrah”: West Coast Artists 483 Alechinsky 432 Thiebaud 483 Hundertwasser 433 Kienholz 483 The Postwar Body: British Sculpture and Painting 433 Jess 484 Hepworth 434 Ruscha 485 Moore 435 Jiménez 486 Bacon 435 Personal Documentaries: The Snapshot Aesthetic in Sutherland 439 American Photography 487 Freud 440

CONTENTS IX

LK024_P0008EDarmason_HoMA_FM_Combined.indd ix 04/10/2012 18:22 20 22 Playing by the Rules: Conceptual and Activist Art 558 1960s Abstraction 490 Art as Language 558 Art & Language, Kosuth 559 Drawing the Veil: Post Painterly Abstraction 490 CONTEXT: Semiotics 559 SOURCE: Clement Greenberg, from Post Painterly Weiner, Huebler, and Barry 560 Abstraction (1964) 491 Keeping Time: Baldessari, Kawara, and Darboven 560 Francis and Mitchell 491 Conceptual Art as Cultural Critique 562 Frankenthaler, Louis, and Olitski 493 Broodthaers, Buren, and Sanjouand 562 Poons 496 Haacke and Asher 565 At an Oblique Angle: Diebenkorn 497 Lawler and Wilson 566 Forming the Unit: Hard-Edge Painting 498 The Medium Is the Message: Early Video Art 567 Seeing Things: Op Art 503 Paik 567 Vasarely 503 Nauman 568 Riley 504 Campus’s Video Art 568 New Media Mobilized: Motion and Light 505 When Art Becomes Artist: Body Art 569 Mobiles and Kinetic Art 507 Abromovic and Ulay 569 Artists Working with Light 508 Schneemann and Wilke 570 The Limits of Modernism: Minimalism 510 Mendieta 571 Caro 511 Acconci 572 Stella 512 Burden 572 Smith, Judd, and Morris 514 Gilbert and George, Anderson, and Horn 574 SOURCE: Tony Smith, from a 1966 interview in Radical Alternatives: Feminist Art 575 Artforum 514 The Feminist Art Program 575 LeWitt, Andre, and Serra 518 Erasing the Boundaries between Art and Life: Later TECHNIQUE: Minimalist Materials: Cor-Ten Steel 520 Feminist Art 578 Minimalist Painters 521 Kelly 578 Complex Unities: Photography and Minimalism 526 Guerrilla Girls 579 Antoni and Fleury 579 Invisible to Visible: Art and Racial Politics 581 21 OBAC, Afri-COBRA, and SPARC 581 Modernism in Architecture Ringgold and Folk Traditions 583 Social and Political Critique: Hammons and Colescott 584 527 at Mid-Century The Concept of Race: Piper 586 “The Quiet Unbroken Wave”: The Later Work of Wright and Le Corbusier 527 Wright During the 1930s 528 23 Le Corbusier 531 Purity and Proportion: The International Style Post-Minimalism, Earth Art, in America 535 and New Imagists 587 The Influence of Gropius and Mies van der Rohe 535 Metaphors for Life: Process Art 588 Skyscrapers 537 Arte Povera: Merz and Kounellis 595 Domestic Architecture 540 Big Outdoors: Earthworks and Land Art 596 Internationalism Contextualized: Developments in Europe, Monumental Works 597 Latin America, Asia, and Australia 541 CONTEXT: Environmentalism 597 Finland 541 SOURCE: Robert Smithson, from “Cultural Confinement,” Great Britain 543 originally published in Artforum (1972) 599 France 543 Landscape as Experience 601 Germany and Italy 544 Public Statements: Monuments and Large-Scale Sculpture 606 Latin America, Australia, and Japan 546 Body of Evidence: Figurative Art 610 Breaking the Mold: Experimental Housing 549 Photorealism 610 CONTEXT: Women in Architecture 550 Hanson’s Superrealist Sculpture 614 Arenas for Innovation: Major Public Projects 552 Stylized Naturalism 614 Cultural Centers, Theaters, and Museums Animated Surfaces: Pattern and Decoration 618 in America 552 Figure and Ambiguity: New Image Art 621 Urban Planning and Airports 556 Rothenberg and Moskowitz 621 Architecture and Engineering 557 Sultan and Jenney 622 TECHNIQUE: The Dymaxion House 557 Borofsky and Bartlett 624 Chicago Imagists: Nutt and Paschke 625 Steir 626 New Image Sculptors: Shapiro and Flanagan 627

X CONTENTS

LK024_P0008EDarmason_HoMA_FM_Combined.indd x 04/10/2012 18:22 24 26 Postmodernism 629 New Perspectives on Art CONTEXT: Poststructuralism 629 and Audience 695 Postmodernism in Architecture 630 Commodity Art 695 “Complexity and Contradiction”: The Reaction Against CONTEXT: National Endowment for the Arts 696 Modernism Sets In 631 CONTEXT: International Art Exhibitions 697 SOURCE: Robert Venturi, Denise Scott Brown, and Steven Postmodern Arenas: Installation Art 701 Izenour, from Learning from Las Vegas (1972) 632 CoLab, Ahearn, and Osorio 701 In Praise of “Messy Vitality”: Postmodernist Kabakov 702 Eclecticism 632 Viola 704 Venturi, Rauch, Scott Brown, and Moore 632 Strangely Familiar: British and American Sculpture 704 Piano, Rogers, and a Postmodern Museum 636 Reprise and Reinterpretation: Art History as Art 710 Hollein, Stern, and Isozaki 636 Representing Art History 710 Ironic Grandeur: Postmodern Architecture and The Anxiety of Artistic Influence 711 History 640 Cutting Art History Down to Size 713 Johnson 640 DIY in the Artist's Studio 714 Stirling, Jahn, Armajani, and Foster 641 SOURCE: Jorge Luis Borges, On Exactitude in Science Pei and Freed 643 (1946, originally published as a mock literary Ando and Pelli 646 discovery) 717 What Is a Building?: Constructivist and Deconstructivist Reorienting Art History's Centers and Peripheries 717 Architecture 647 New Perspectives on Childhood and Identity 719 CONTEXT: Deconstruction versus Deconstructivism 648 The Art of Biography 722 Structure as Metaphor: Architectural Allegories 651 Meeting Points: New Approaches to Abstraction 726 Flexible Spaces: Architecture and Urbanism 654 Plater-Zyberk and Duany 655 Koolhaas and the OMA 656 Postmodern Practices: Breaking Art History 658 27 Appropriation: Kruger, Levine, Prince, and Sherman 658 Contemporary Art Holzer, McCollum, and Tansey 663 and Globalization 729 CONTEXT: Modern Art Exhibitions and 25 Postcolonialism 729 Lines That Define Us: Locating and Crossing Borders 730 666 Painting through History Art and the Expression of Culture 730 Primal Passions: Neo-Expressionism 666 Identity as Place 735 German Neo-Expressionism: Baselitz, Lüpertz, Penck, Skin Deep: Identity and the Body 742 and Immendorff 667 Body as Self 742 Polke, Richter, and Kiefer 670 The Sensual Body 742 SOURCE: Gerhard Richter, from “Notes 1964–1965” 672 The Absent Body 746 Italian Neo-Expressionism: Clemente, Chia, and Occupying the Art World 750 Cucchi 675 Globalization and Arts Institutions 754 TECHNIQUE: Choosing Media 676 Interventions in the Global Museum 754 American Neo-Expressionism: Schnabel, Salle, and CONTEXT: Avant-tainment 756 Fischl 676 Designing a Global Museum 757 Searing Statements: Painting as Social Conscience 680 CONTEXT: Pritzker Prize 759 Golub and Spero 680 Coe and Applebroog 682 In the Empire of Signs: Neo-Geo 683 Glossary 761 Neo-Geo Abstraction: Halley and Bleckner 683 Bibliography 763 The Sum of Many Parts: Abstraction in the 1980s 684 Index 790 Murray 685 Credits 809 Winters 685 Taaffe 686 Scully 686 Taking Art to the Streets: Graffiti and Cartoon Artists 687 Haring and Basquiat 687 CONTEXT: HIV/AIDS and the Art World 689 Wojnarowicz and Wong 690 Rollins and KOS 691 Painting Art History 692 Currin and Yuskavage 692

CONTENTS XI

LK024_P0008EDarmason_HoMA_FM_Combined.indd xi 04/10/2012 18:22 Preface

ince it first appeared in 1968, History of Modern Art Talbot’s photography and Gautier’s novel also intro- Shas emphasized the unique formal properties of art- duce themes that recur throughout the book. Intersections works, and the book has long been recognized for the between art and science, for instance, are noted repeatedly, acuity of its visual analysis. To neglect the specifically visual as is the role of technology in shaping modern art. Other quality of art and architecture would be akin to ignoring sustained themes include the relationship between modern- the use of language in poetry or the quality of sound in ism and femininity, the influence of criticism on the recep- music. Only through close formal analysis can art and its tion of modern art, the development and effects of the art effect on us be fully understood. market, and the persistence of the exotic as an aesthetic Visual analysis does not, however, constitute art his- ideal. Although these ideas are woven through the whole tory. The book’s original author, H.H. Arnason, directed of History of Modern Art, each chapter maintains a distinct readers to consider modern art in terms of “everything focus, addressing a particular movement or concept. The that we can learn about the environment that produced introductions address social and aesthetic issues particular it.” The seventh edition of History of Modern Art pre- to each chapter while linking these ideas to the central serves the text’s sensitive approach to visual analysis while themes of the text. deepening its consideration of the social conditions that Furthering the assertion of modern art’s social import is have affected the production and reception of modern and the inclusion of new artists and artworks. These additions contemporary art. are intended to strengthen the central arguments of the Toward this end, the seventh edition retains its chrono- book while also broadening its conception of modern- logical organization. While not claiming that modern- ism. Among other changes is the integration of women ism’s birth can be traced to a specific moment, History and African-American artists into the main narrative. of Modern Art accords particular relevance to the year These important contributors to the history of modern- 1835. Two events in that year anchor the text’s account ism are not cast as extras in an otherwise male, white, and of modernism: the production of the earliest photo- Eurocentric story. Rather, the main narrative encompasses graphs by William Henry Fox Talbot and the publication their work while also addressing issues related to their of Théophile Gautier’s novel Mademoiselle de Maupin, marginalization in traditional histories of modern art. For with its provocative cross-dressing heroine and scandal- instance, the relationship between modern art and women ous endorsement of l’art pour l’art—in other words, Art involves more than the history of women’s exclusion from for Art’s Sake. These events announce the conflicting the institutions of artmaking and exhibition: it also con- impulses that have catalyzed the development of modern cerns the significance of the female nude for the history art since the nineteenth century. of modernism as well as the decisive influence of women Modern art is the cultural expression of a society shaped patrons of avant-garde art in the late nineteenth and early as much by scientific rationalism as by transcendent ideal- twentieth centuries. Likewise, to comprehend the posi- ism. The tension inherent in this social condition propels tion of African-American artists in this period requires modernism, through which these competing worldviews an understanding of contemporary cultural assumptions are explored and often synthesized. The appearance of about race and representation. photography and the doctrine of Art for Art’s Sake in the History of Modern Art closes with a chapter devoted to same year testify to the appeal of both viewpoints at this globalization, taking into consideration the economic and time. For many, photography promised to document the political conditions currently affecting artists and audi- world accurately and objectively, to deliver absolute visual ences internationally. The lessons of globalization have not truth. Partisans of Art for Art’s Sake celebrated instead been lost on artists. Many have adapted their practice to a truth based on subjective aesthetic experiences that new digital media, often by-passing conventional venues transcend lived reality. These two worldviews have con- for exhibition and instead broadcasting their work via tinued to collide and commingle to the present day, with personal websites or through social networking systems moments of resolution and irresolution continually giving like Facebook or Twitter. Few have managed to digitally rise to new forms of visual culture. broadcast their work as effectively as the dissident Chinese

XII PREFACE

LK024_P0001EDarmason_HoMA_FM_Combined.indd xii 14/09/2012 15:49 artist Ai Wei Wei. The so-called “Arab Spring” and Occupy Movements of 2011endowed even greater urgency to artis- tic interventions with digital media and global capitalism, Acknowledgments and these issues are among those given scrutiny in this lat- est edition of History of Modern Art. Pulsing beneath this account of communications sys- tems and revolutionary politics is the legacy of European and American colonialism, which accompanied the rise of modernity. The most effective analysis of the relationship between imperialism and modernity has come from the field of postcolonial studies. By articulating the causes and consequences of Western imperialism, postcolonial o many colleagues have contributed to my under- theory has contributed significantly to a reformulation of Sstanding and interpretation of the history of mod- what it means to be an artist just as it has led some col- ern art that I cannot possibly name them all here. This lectors, dealers, and museum professionals to reconsider revision of History of Modern Art benefited particularly their practices. from conversations with Aruna d’Souza, Pepe Karmel, The book concludes with discussions of two controver- Helen Molesworth, Shelley Rice, Julia Robinson, Kenneth sial museums designed by French architect Jean Nouvel. Silver, Andres Zervigon and, especially, Philip Walsh. Their The Quai Branly Museum in Paris, which opened in 2006, thoughts helped give clarity to the still unfolding history houses ethnographic collections mostly from France’s of modernism presented in the following pages. Rachel former colonial possessions. Designed with an eye toward Federman contributed essential research, updating the bib- making visible the outmoded ideologies of racial and liography and contributing to the book’s online resources. sexual inequality that made colonialism possible, Nouvel’s Helen Ronan’s perfectly timed and phrased editorial inter- Quai Branly Museum appeals to the clarity promised by ventions transformed sometimes unwieldy ideas into argu- postcolonial theory. Yet the museum finds itself ensnared ments, and Donald Dinwiddie, Lis Ingles, and Emma in the vexed history of actual colonial practice. Palpable, Brown at Laurence King Publishing translated these ideas too, is the pulse of neocolonialism, which refers to the into a thoughtfully designed book. persistence of unequal political and economic relations History of Modern Art is a textbook, and its primary between countries formerly bound by colonial practices. function is to provide an accurate account of the visual As an ethnographic museum, the Quai Branly testifies to culture of modernity. Yet the book’s authoritative voice France’s former imperial status even as it attempts to allow is intended to provoke discussion among students and the objects collected there to speak on their own account. their instructors. As confident as the narrative might seem, But with its crepuscular galleries, interactive video stations, it is the product of intellectual disagreement as well as and alcoves animated with piped-in music indigenous consensus, and it is my hope that readers will come away to France’s old colonial possessions, the museum recre- from the text with as many questions as answers about the ates the fantasy of easy access and compliant natives that history of modern art. An essential forum for the kind of has spurred colonial ambitions since the sixteenth cen- scholarly debate required for this project is the process of tury. Such imaginings were as crucial to Paul Gauguin’s external review. I am grateful to the following referees, Tahitian sojourns as to the work of contemporary artists whose anonymous criticisms and suggestions can now like Emily Jacir or Walid Raad, who articulate a visual lan- be acknowledged: Cynthia Fowler, Emmanuel College; guage of cultural identity and resistance in the face of such Kim Grant, University of Southern Maine; Sherri Lisota, imperialist fantasies. Viterbo University; Walter Meyer, Santa Monica College; Expressive of a different set of global cultural ambitions Robert Nauman, University of Colorado at Boulder; is the Louvre Abu Dhabi. Intended as an anchor for the Caterina Pierre, Kingsborough Community College, emirate’s culture district, the new museum boasts the name CUNY; Rebecca Reynolds, University of West Georgia; of France’s most prominent arts institution and it will, at Mysoon Rizk, University of Toledo; and Prudence Roberts, least initially, exhibit artworks from the Louvre’s collection. Portland Community College, Rock Creek. Nouvel’s daringly innovative design for the museum invites I trust that these scholars, along with the students with comparison with canopied bazaars, emphasizing the capac- whom they work, will agree that this seventh edition of ity of material culture to serve as a medium of exchange. History of Modern Art has been strengthened by their con- Yet it is the cultural patrimony of France, not Abu Dhabi, tributions to its revision. that will facilitate transactions, a trusted foreign currency sustaining a far-away market. Considered together, the Louvre Abu Dhabi and the Quai Branly Museum express Elizabeth Mansfield the same tensions and contradictions that have informed February 2012 modern art since its inception. New York, NY

PREFACE/ACKNOWLEDGMENTS XIII

LK024_P0001EDarmason_HoMA_FM_Combined.indd xiii 14/09/2012 15:49 Why Use this Seventh Edition

In response to requests from instructors and students across the country, History of Modern Art is more user friendly than ever. Every effort has been made to secure as many pictures as possible in full color. In addition to the numerous content improvements to every chapter detailed below, History of Modern Art is now offered in a variety of formats—all with digital images for instructors—to suit any course need. See inside front cover for details.

New Digital Resources Instructor PowerPoints Powerpoints for nearly every image in the book are available to adopting instructors. To request access to the collection, please visit www.mysearchlab.com

MySearchLab with eText The Pearson eText available within MySearchLab lets students access their textbook any time, anywhere, and any way they want. The eText is enriched with multimedia including video links to Art21 clips and many other resources. Just like the printed text, students can highlight relevant passages and add their own notes. For even greater flexibility, students can download the eText to a tablet using the free Pearson eText app. MySearchLab with eText offers a variety of research, writing, and citation tools, including Writing About Art by Henry Sayre, to help students hone key skills. With access to various academic journals, news feeds, and primary source readings, students are just a few clicks away from trusted source materials. Quizzes are also available for every chapter, enabling both instructors and students to track progress and get immediate feedback.

Please contact your local representative for ordering details or visit www.pearsonhighered.com/art.

Chapter-by-chapter Revisions

Chapter 1 A streamlined introduction to the origins of modern art the diverse artistic movements that emerged in France commences with the famous Whistler vs. Ruskin trial. in the decades following the devastating Franco-Prussian Traditional, academic approaches to art making are here War and Paris Commune. It now demonstrates that Post- explained in order to highlight modernity’s challenges to Impressionism emerged as much from specific social con- long-held expectations about the forms artworks should ditions as from particular aesthetic concerns, and lengthy take and the audiences they should address. treatments of artists’ biographies have been replaced with closer analyses of fewer artworks. Chapter 2 A more nuanced discussion of Realism sharpens the dis- Chapter 4 tinctions among the various movements and techniques Architecture’s central role for Arts and Crafts and Art described under this heading. The role of photography Nouveau is made clear by treating together the range of in shaping the idea of Realism in the nineteenth century techniques and media addressed by these movements. is given particular attention, contributing to an overall Sculpture’s importance, too, receives greater emphasis. The sensitivity to the relevance of medium and technique for Wiener Werkstätte is now cast in relation to Arts and Crafts, understanding progressive art of this period. Impressionism as well as Jugendstil. is characterized as both indebted to and departing from Realism, a shift explored in relation to contemporary Chapter 5 history as well as aesthetics. Women artists’ contributions This chapter on Fauvism crystallizes around the work of are fully integrated into the chapter, as is the significance of Henri Matisse and Constantin Brancusi. The relationship the female nude as a persistent subject of modern art. between photography and early twentieth-century experi- ments in expressive form and color is sharpened, with spe- Chapter 3 cial note taken of Brancusi’s use of photography as part of Acknowledging the historiography of the unwieldy des- his artistic process. ignation “Post-Impressionism,” this chapter focuses on

XIV WHY USE THIS SEVENTH EDITION/CHAPTER-BY-CHAPTER REVISIONS

LK024_P0001EDarmason_HoMA_FM_Combined.indd xiv 14/09/2012 15:49 Chapter 6 Chapter 12 Not merely confined to the fine arts, German and Austrian New architectural views and plans have been added to Expressionism produced important works of decorative enhance this chapter devoted to the de Stijl movement. art and architecture, and examples are now included in The complex significance accorded to abstraction by Piet order to give a more accurate account of the movement’s Mondrian is elaborated, with his ongoing spiritual investi- scope. Expressionism’s preoccupation with the theme of gations seen as alternately complementary to and at odds the female nude receives focused attention, and the theme with the materialist social utopianism of the de Stijl project. is examined in relation to contemporary social conventions as well as to broader aesthetic trends within modernism. Chapter 13 Like the de Stijl movement, the Bauhaus was founded on Chapter 7 the principle of arts integration in pursuit of a unified aes- Cubism emerged at a particular moment in European cul- thetic. To support this account of the Bauhaus, clearer and tural history, and the social conditions particular to France more historically accurate images have been introduced. in the early years of the twentieth century are discussed in order to give greater context to the artistic experiments Chapter 14 undertaken by Picasso and Braque. Cubism’s distinct aes- Surrealism’s reliance on concepts derived from Freud’s the- thetic concerns—as grounded in art-historical tradition as ories contributes to the movement’s presumptions regard- in contemporary innovations by artists like Cézanne—are ing femininity as a dangerous yet irresistibly seductive treated at length, but not as ideas divorced from history. manifestation of the psyche. The movement’s representa- tion of women, along with its ambivalence toward women Chapter 8 artists, now comes under sharper critique. Photographer To enable a better understanding of early twentieth-century Dora Maar’s work is now included in the chapter. architecture, photographs of buildings have been updated with an eye toward providing as close an interpretation of the Chapter 15 sites’ original appearance as possible. Additional plans further A restyled chapter on modern art produced in America augment the chapter’s presentation of architecture. The prior to World War II begins with a consideration of concept of functionalism has been elaborated to provide a Romaine Brooks. Her career provides an entry point for stronger theoretical context for the buildings discussed. the chapter’s look at American artists’ relationship to the European avant-garde. Social concerns that especially ani- Chapter 9 mated progressive American artists are discussed, as well as The international character of the European response to their visual responses to conditions like urban poverty, child Cubism is conveyed by highlighting the strong connec- labor, and isolationism. tions forged in Paris by artists of diverse nationalities. Italian and Russian artists are singled out for sustained Chapter 16 treatment as conduits for artistic innovations that would Taking a more focused approach to Abstract Expressionism lead to the emergence of such movements as Futurism and the emergence of American modernism, this chapter and Constructivism. now presents fewer works with more in-depth discussion of selected pieces. This development of narrative allows for Chapter 10 a subtler treatment of the contributions of women to mod- New, sometimes stark, images have been added to this ern art in North America. Their current prominence tends chapter in order to convey the depth of the social and cul- to disguise the difficulties artists like Lee Krasner and Grace tural rupture caused by World War I. The intense outrage, Hartigan faced in gaining recognition and patronage, even confusion, and despair felt by those who experienced the as they produced mature works. war is unleashed through a variety of cultural strategies, including Dada and the New Objectivity. Chapter 17 European art of the immediate postwar period has been Chapter 11 contextualized in relation not only to the era’s diffi- The artistic response to World War I is further explored in cult economic conditions but also to existentialism. An a chapter devoted to the Paris scene. There, the importance introduction to this worldview provides the backdrop of art dealers in the promotion of avant-garde art is espe- for a consideration of such cultural manifestations of cially evident, and the role of the dealer is given renewed postwar wariness as the Theater of the Absurd and Art consideration. Artists, critics, dealers, and patrons were all Informel. The discussion of Francis Bacon’s painting has deeply affected by the war, and each of these groups con- been enhanced through the inclusion of new comparative tributed momentum to the cultural “Call to Order” that pieces such as a still from Battleship Potemkin and a work characterizes the post-war period . by Velázquez.

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LK024_P0001EDarmason_HoMA_FM_Combined.indd xv 14/09/2012 15:49 Chapter 18 those presented. Re-organized to give a clearer understand- Nouveau Réalisme and Fluxus now have their own chapter. ing of the relationship among the various movements that This new arrangement encourages readers to understand the characterized modern art in the 1970s, the chapter now decidedly European context of Nouveau Réalisme, a point starts with Process art, allowing works by Robert Smithson, that can be lost when this material is presented together Robert Morris, and Eva Hesse to set the keynote. with Pop art. The international importance of Fluxus as well as its origins in the immediate postwar period are likewise Chapter 24 clarified by the movement’s placement in this chapter. Postmodernism—in all its myriad forms—remains the theme of this chapter. The discussion of architecture has Chapter 19 been refined in order to convey precisely the differences As the proliferation of excellent new scholarship attests, among Postmodern, Constructivist, and Deconstructivist the importance of Pop art for the history of twentieth- and approaches. The chapter now closes with a single painting twenty-first-century art more than justifies a chapter dedi- by Mark Tansey. cated to this and allied movements. The new chapter’s title, “Taking Chances with Popular Culture,” signals the range Chapter 25 of artworks and theories engaged, from Richard Hamilton This chapter focuses on easel painting, a format that and Pop to visual responses to the music of composer John enjoyed a significant resurgence in the 1970s and 1980s. Cage. Women involved with Pop are given a stronger pres- The social as well as aesthetic context for the renewed ence with the inclusion of French artist Evelyn Axell. interest in painting is broadened, with the addition of sev- eral comparative works aimed at giving a more complete Chapter 20 account of this phenomenon. A subtler treatment of the legacy of Clement Greenberg lends greater accuracy to the treatment of Minimalism, Chapter 26 clarifying the movement’s relationship to the contested his- Since the critical interventions of Conceptual art and tory of “modernism.” What is brought home in this chap- Postmodernism, contemporary artists have evinced a will- ter is the fact that there is no neat, linear development of ingness to work outside the bounds of established institu- modernism; instead, readers find that the history of modern tions and practices. Exemplary of this attitude is the DIY art is riven with uncertainty and competing claims, a point movement in the visual arts, a movement represented in made clearly by the Minimalist project. this chapter with works by Charles LeDray and Guy Ben- Nur. Also newly introduced into this chapter are Christian Chapter 21 Marclay and Andrea Fraser, whose distinct confrontations This chapter on the International Style and the expressive, with the culture of the art world offer divergent approaches sculptural architecture of modernist designers like Wright, to institutional critique. Saarinen and Breuer makes a stronger case now that it has been enhanced with new, clearer images and architectural Chapter 27 plans. A discussion of the architecture and design work of The concluding chapter has been significantly updated Eileen Gray has been added. in order to accommodate works of visual art produced in response to postcolonialism, neocolonialism, and global- Chapter 22 ization. With the so-called “Arab Spring” protests and the Works by Marina Abramovic, Ulay, Jean-Michel Sanejou- global Occupy Movement has come a greater awareness and, and Sylvia Sleigh are newly added to this chap- of the role of digital technology in spreading and shap- ter, in which Conceptual art, Performance art, feminist ing information. Artists were among the first to recognize art, protest art, and the Situationists are addressed. Josef this, and the concluding chapter of History of Modern Art Beuys’ contribution to Conceptual art is discussed at includes works that address issues related to digital cultures, greater length. personal confrontations with globalization, and with arts in the service of social justice. Artists added to this edition Chapter 23 include Walid Raad, Rirkrit Tiravanija, El Anatsui, Do-Ho This chapter on Post-Minimalism, Earth art, and New Suh, Pierre Huyghe, Thomas Hirschhorn, Ai Wei Wei, and Imagists offers fewer artworks but more in-depth analysis of Bernadette Corporation.

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