DOCSLIB.ORG

Theory of the Avant-Garde

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Theory of the Avant-Garde Peter Burger Translation from the German by Michael Shaw Foreword by Jochen Schulte-Sasse Theory and History of Literature, Volume 4 m I4P' Manchester University Press University of Minnesota Press, Minneapolis Copyright e 1984 by the University of Minnesota. All rights reserved. Published in the United Kingdom by Manchester University Press. Oxford Road Manchester M13 9PL Printed in the United StateS of America. BritWt Lllrary Cacolopinl in Publiadon Data Biirger, Peter Theory of the avant-garde. 1. Avant-garde (Aesthetics) I. Title II. Theorie der avantgarde English 709.'4 BH301.A94 ISBN 0-7190·1453-0 ISBN 0-7190-1452 pbk The translation is based on the second edition of Theorie der Avantgarde © 1974, 1980 by Suhrkamp Verlag. Frankfurt, West Germany, and on "Theorie der Avantgarde und Theorie der Literatur" [the introduction in this volume! and "Hermeneutik-Ideologiekritik­ tunktionsanalyse" (chapter one this volume! in Peter Qiirger, Vermittlung- Rezeption-Funktion © 1979 by Suhrkamp Verlag, Frankfurt, West Germany. Contents Foreword: Theory of Modernism versus Theory of the Avant-Garde by Jochen Schulte-Sasse Vll Preliminary Remarks xlviii Introduction: Theory of the Avant-Garde and Theory of Literature xlix One. Preliminary Reflections on a Critical Literary Science 3 1. Hermeneutics 2. Ideology Critique 3. Analysis of Functions Two. Theory of the Avant-Garde and Critical Literary Science 15 1. The Historicity of Aesthetic Categories 2. The Avant-Garde as the Self-Criticism of Art in Bourgeois Society 3. Regarding the Discussion of Benjamin's Theory of Art Three. On the Problem of the Autonomy of Art in Bourgeois Society 35 1. Research Problems 2. The Autonomy of Art in the Aesthetics of Kant and Schiller 3. The Negation of the Autonomy of Art by the Avant-Garde Four. The Avant-Gardiste Work of Art 55 1. On the Problem of the Category 'Work' 2. The New 3. Chance 4. Benjamin's Concept of Allegory 5. Montage Five. Avant-Garde and Engagement 83 1. The Debate between Adorno and Lulcics 2. Concluding Remark and a Comment on Hegel Postscript to the Second German Edition 95 Notes 100 Bibliography 122 Index 126 lliustrations 1. Marcel Duchamp, Fountain by R. Mutt, 1917 (Urinoir), 1917 52 2. Daniel Spoerri, Wbo Knows Where Up and Down Are? (Wer wei(3, 'fDO obe71 urul u7Iten ist?), 1964 58 3. Andy Warhol, 100 Campbell's Soup Cans, 1962 62 4. Rene Magritte, The ReadyMade Bouquet, 1956 64 5. Pablo Picasso, Still Life (Nature ",orte), 1912 74 6. Pablo Picasso, Violin (Un rnolon accrocbe au mur), 1913 75 7. John Heartfield, Adolph-Tbe Superman-Wbo Swallo'WS Gold and Spouts Junk (Adolf-Der Obermenscb scbluckt Gold und redet Blecb), 1932 76 8. John Heartfield, Germany Is Still Not Lost! (Nocb ist Deutscbland nicbt 'Derloren!), 1932 77 The publisher is grateful to those who granted pennission for use of these illustrations in this text. Full citation of copyright holders is given in the cap­ tions for each illustration. Every effort was made by the publisher and the author to obtain permission for illustration 2. Foreword: Theory of Modernism versus Theory of the Avant-Garde by Jochen Schulte-Sasse I. Modernism vs. The Avant-Garde: Preliminary Demarcations A. Poggioli's Theory of the Avant-Garde and Its Limits The title of Peter Burger's book will recall to the American reader Renato Poggioli's study of 1968, which bears the same title. Al­ though Poggioli's name is now rarely mentioned, the influence of his approach can still be seen in the most recent discussions of modern­ ism, post-modernism, and the avant-garde. At least his approach is highly compatible with the discussion, at present largely determined by poststructuralist premises. For this reason, a systematic deveIop­ men t of the radical differences between the two directions of thought represented by Burger's and Poggioli's books may help determine those places where Burger's Theory of the Avant-Garde could posi­ tively influence the stagnating debate surrounding modernism and the avant-garde. A rarely questioned assumption that underlies this debate is that As one who up to now has written all his publications in that strange Teutonic language Mark Twain characterized so beautifully, it has been a humiliating experience trying to express my thoughts in Twain's very own medium. Therefore, I am all the more grateful for the extensive help I received from Linda Schulte-Sasse in translating and from Lindsay Watets in editing this text. vii viii 0 FOREWORD avant-garde literature derives from the dichotomy between conven­ tional, cliched language and experimental linguistic forms that dislodge those cliches. This explanation, of course, is not unique to the study of the artistic media using language, since a similar dichoto­ my of conventionality versus originality has dominated the critique of other arts. As early as 1939, Clement Greenberg's essay "Avant­ Garde and Kitsch" was in both title and contents characteristic of this tendency within art criticism. Typically enough, Greenberg, probably America's best known art critic of the fifties and early sixties, chose this programmatic essay to introduce his book Art and Culture (1961). Poggioli is no exception to this tradition. In his view, the tendency of "avant-garde" writing to concentrate on linguistic creativity is a "necessary reaction to the flat, opaque, and prosaic nature of our public speech, where the practical end of quantitative communica­ tion spoils the quality of expressive means." Thus the hermetic, dark language of modem fiction has a social task: It functions as "at once cathartic and therapeutic in respect to the degeneration afflicting common language through conventional habits." 1 The "cult of novelty and even of the strange"2 in avant-garde art has for Poggioli definable historical and social causes in the "tensions of our bourgeois, capitalistic, and technological society."3 The "bourgeois, capitalistic, and technological society" of which Poggioli speaks did not, however, begin with the period of the historical avant-garde during the twenties, and cenainly not with the period of postmodernism in the fifties and' sixties. Poggioli's historical-social derivation of the avant-garde entangles him in a difficulty. He draws a parallel between bourgeois-capitalist society and the commercialization and dequalification of language on the one hand and the "avant-garde's" skepticism toward language on the other. If this parallel is valid, then a critical consciousness pro­ voked by the degeneration of language as it was used in the market­ place must have already existed in the late eighteenth century. If, however, a connection between bourgeois, capitalist society and skepticism toward language can be found in the late eighteenth and in the entire nineteenth century, then it becomes highly questionable whether Poggioli's setting up oflinguistic conventionality against the avant-garde can serve as a starting point for a "theory of the avant­ garde." For then the term avant-garde would have to be stretched to apply to the late eighteenth century and would become an empty slogan, no longer able to help us distinguish romanticism, symbolism, aestheticism, the avant-garde, and postmodemism from each other. FOREWORD 0 ix I will begin with the first poin t, the question whether there was a skeptical consciousness about language around the year 1800. One can in fact cite numerous remarks dating back that far arguing that the cliched character of language is a social and historical problem. Toward the end of the eighteenth century, Schiller and Goethe decided to begin preliminary studies for a project on dilettantism. The notes on the project (which was never completed) state: "All dilettantes are plagiarizers. They sap the life out of and destroy all that is original and beautiful in language and in thought by repeating it, imitating it, and filling up their own void with it. Thus, more and more, language becomes filled up with pillaged phrases and forms that no longer say anything; one can read entire books that have a beautiful style and contain nothing at all."4 One could easily cull similar remarks from writers of the last quarter of the eighteenth century. These early attacks on the degeneration of language are pervaded by an awareness of the interrelation of various sociohistorical developments: bourgeois-capitalist society, mass culture,the poet's stance against this development, the consciously esoteric character of "high" literature, and the like. Rousseau in France, Karl Philipp Moritz and Schiller and the Romantics in Germany, and (somewhat later) Wordsworth and Coleridge in Eng­ land discussed the division of labor and its influence on literature; the experience of alienation in modern societies; the dequalifying effect of the instrumentalization of reason; and the domination of social interaction by exchange value, expressed by the terms "self­ interest," "interest," "amour-propre," and "economic egotism." The reason that these sociological themes immediately affected literature and aesthetic theory lies not so much in the sensitivity of great writers to sociohistorical changes, but rather in the signifi­ cance of the book market for the national economy of the eigh­ teenth centuryS and in writers' new experience of having to compete with the mass appeal of popular literature.6 These developments led to a confrontation between writer and commercialism, between originality and conformism, between autonomous "high" literature and a literature given over to the ideological reproduction
Recommended publications
  • Planning Curriculum in Art and Design

    Planning Curriculum in Art and Design

    Planning Curriculum in Art and Design Wisconsin Department of Public Instruction Planning Curriculum in Art and Design Melvin F. Pontious (retired) Fine Arts Consultant Wisconsin Department of Public Instruction Tony Evers, PhD, State Superintendent Madison, Wisconsin This publication is available from: Content and Learning Team Wisconsin Department of Public Instruction 125 South Webster Street Madison, WI 53703 608/261-7494 cal.dpi.wi.gov/files/cal/pdf/art.design.guide.pdf © December 2013 Wisconsin Department of Public Instruction The Wisconsin Department of Public Instruction does not discriminate on the basis of sex, race, color, religion, creed, age, national origin, ancestry, pregnancy, marital status or parental status, sexual orientation, or disability. Foreword Art and design education are part of a comprehensive Pre-K-12 education for all students. The Wisconsin Department of Public Instruction continues its efforts to support the skill and knowledge development for our students across the state in all content areas. This guide is meant to support this work as well as foster additional reflection on the instructional framework that will most effectively support students’ learning in art and design through creative practices. This document represents a new direction for art education, identifying a more in-depth review of art and design education. The most substantial change involves the definition of art and design education as the study of visual thinking – including design, visual communications, visual culture, and fine/studio art. The guide provides local, statewide, and national examples in each of these areas to the reader. The overall framework offered suggests practice beyond traditional modes and instead promotes a more constructivist approach to learning.
  • The Total Work of Art in European Modernism Series Editor: Peter Uwe Hohendahl, Cornell University

    The Total Work of Art in European Modernism Series Editor: Peter Uwe Hohendahl, Cornell University

    The Total Work of Art in European Modernism Series editor: Peter Uwe Hohendahl, Cornell University Signale: Modern German Letters, Cultures, and Thought publishes new English- language books in literary studies, criticism, cultural studies, and intellectual history pertaining to the German-speaking world, as well as translations of im- portant German-language works. Signale construes “modern” in the broadest terms: the series covers topics ranging from the early modern period to the present. Signale books are published under a joint imprint of Cornell University Press and Cornell University Library in electronic and print formats. Please see http://signale.cornell.edu/. The Total Work of Art in European Modernism David Roberts A Signale Book Cornell University Press and Cornell University Library Ithaca, New York Cornell University Press and Cornell University Library gratefully acknowledge the support of The Andrew W. Mellon Foundation for the publication of this volume. Copyright © 2011 by Cornell University All rights reserved. Except for brief quotations in a review, this book, or parts thereof, must not be reproduced in any form without permission in writ- ing from the publisher. For information, address Cornell University Press, Sage House, 512 East State Street, Ithaca, New York 14850. First published 2011 by Cornell University Press and Cornell University Library Printed in the United States of America Library of Congress Cataloging-in-Publication Data Roberts, David, 1937– The total work of art in European modernism / David Roberts. p. cm. — (Signale : modern German letters, cultures, and thought) Includes bibliographical references and index. ISBN 978-0-8014-5023-5 (pbk. : alk. paper) 1. Modernism (Aesthetics) 2.
  • The American Abstract Artists and Their Appropriation of Prehistoric Rock Pictures in 1937

    The American Abstract Artists and Their Appropriation of Prehistoric Rock Pictures in 1937

    “First Surrealists Were Cavemen”: The American Abstract Artists and Their Appropriation of Prehistoric Rock Pictures in 1937 Elke Seibert How electrifying it must be to discover a world of new, hitherto unseen pictures! Schol- ars and artists have described their awe at encountering the extraordinary paintings of Altamira and Lascaux in rich prose, instilling in us the desire to hunt for other such discoveries.1 But how does art affect art and how does one work of art influence another? In the following, I will argue for a causal relationship between the 1937 exhibition Prehis- toric Rock Pictures in Europe and Africa shown at the Museum of Modern Art (MoMA) and the new artistic directions evident in the work of certain New York artists immediately thereafter.2 The title for one review of this exhibition, “First Surrealists Were Cavemen,” expressed the unsettling, alien, mysterious, and provocative quality of these prehistoric paintings waiting to be discovered by American audiences (fig. ).1 3 The title moreover illustrates the extent to which American art criticism continued to misunderstand sur- realist artists and used the term surrealism in a pejorative manner. This essay traces how the group known as the American Abstract Artists (AAA) appropriated prehistoric paintings in the late 1930s. The term employed in the discourse on archaic artists and artistic concepts prior to 1937 was primitivism, a term due not least to John Graham’s System and Dialectics of Art as well as his influential essay “Primitive Art and Picasso,” both published in 1937.4 Within this discourse the art of the Ice Age was conspicuous not only on account of the previously unimagined timespan it traversed but also because of the magical discovery of incipient human creativity.
  • Nietzsche and Aestheticism

    Nietzsche and Aestheticism

    University of Chicago Law School Chicago Unbound Journal Articles Faculty Scholarship 1992 Nietzsche and Aestheticism Brian Leiter Follow this and additional works at: https://chicagounbound.uchicago.edu/journal_articles Part of the Law Commons Recommended Citation Brian Leiter, "Nietzsche and Aestheticism," 30 Journal of the History of Philosophy 275 (1992). This Article is brought to you for free and open access by the Faculty Scholarship at Chicago Unbound. It has been accepted for inclusion in Journal Articles by an authorized administrator of Chicago Unbound. For more information, please contact [email protected]. Notes and Discussions Nietzsche and Aestheticism 1o Alexander Nehamas's Nietzsche: L~fe as Literature' has enjoyed an enthusiastic reception since its publication in 1985 . Reviewed in a wide array of scholarly journals and even in the popular press, the book has won praise nearly everywhere and has already earned for Nehamas--at least in the intellectual community at large--the reputation as the preeminent American Nietzsche scholar. At least two features of the book may help explain this phenomenon. First, Nehamas's Nietzsche is an imaginative synthesis of several important currents in recent Nietzsche commentary, reflecting the influence of writers like Jacques Der- rida, Sarah Kofman, Paul De Man, and Richard Rorty. These authors figure, often by name, throughout Nehamas's book; and it is perhaps Nehamas's most important achievement to have offered a reading of Nietzsche that incorporates the insights of these writers while surpassing them all in the philosophical ingenuity with which this style of interpreting Nietzsche is developed. The high profile that many of these thinkers now enjoy on the intellectual landscape accounts in part for the reception accorded the "Nietzsche" they so deeply influenced.
  • A Historiography of Musical Historicism: the Case Of

    A Historiography of Musical Historicism: the Case Of

    A HISTORIOGRAPHY OF MUSICAL HISTORICISM: THE CASE OF JOHANNES BRAHMS THESIS Presented to the Graduate Council of Texas State University-San Marcos in Partial Fulfillment of the Requirements for the Degree Master of MUSIC by Shao Ying Ho, B.M. San Marcos, Texas May 2013 A HISTORIOGRAPHY OF MUSICAL HISTORICISM: THE CASE OF JOHANNES BRAHMS Committee Members Approved: _____________________________ Kevin E. Mooney, Chair _____________________________ Nico Schüler _____________________________ John C. Schmidt Approved: ___________________________ J. Michael Willoughby Dean of the Graduate College COPYRIGHT by Shao Ying Ho 2013 FAIR USE AND AUTHOR’S PERMISSION STATEMENT Fair Use This work is protected by the Copyright Laws of the United States (Public Law 94-553, section 107). Consistent with fair use as defined in the Copyright Laws, brief quotations from this material are allowed with proper acknowledgement. Use of this material for financial gain without the author’s express written permission is not allowed. Duplication Permission As the copyright holder of this work, I, Shao Ying Ho, authorize duplication of this work, in whole or in part, for educational or scholarly purposes only. ACKNOWLEDGEMENTS My first and foremost gratitude is to Dr. Kevin Mooney, my committee chair and advisor. His invaluable guidance, stimulating comments, constructive criticism, and even the occasional chats, have played a huge part in the construction of this thesis. His selfless dedication, patience, and erudite knowledge continue to inspire and motivate me. I am immensely thankful to him for what I have become in these two years, both intellectually and as an individual. I am also very grateful to my committee members, Dr.
  • Art for Art's Sake: a Literary Luxury Or a Contemporaneous Need?

    Art for Art's Sake: a Literary Luxury Or a Contemporaneous Need?

    International Journal of Language and Literature December 2018, Vol. 6, No. 2, pp. 182-187 ISSN: 2334-234X (Print), 2334-2358 (Online) Copyright © The Author(s). All Rights Reserved. Published by American Research Institute for Policy Development DOI: 10.15640/ijll.v6n2a27 URL: https://doi.org/10.15640/ijll.v6n2a27 Art for Art’s Sake: A Literary Luxury or a Contemporaneous Need? Dr. Mohamad Haj Mohamad1 & Dr. Nadia Hamendi2 Abstract The dichotomy of art for art‘s sake and art for society‘s sake became a pressing concern in the Victorian period due to the pressure from government to use art as a means for championing its causes and aspirations, leaving artists feeling the need to redefine the identity and objectives of art. Believing in art as serving the creation only of beauty for its own sake led to the emergence and rise of art for art‘s sake, a movement that felt that art stripped of its true aesthetical values would suffer as a result. Art for art's sake is an assertion of the value of art away from any moral or didactic objectives, a process that adds a mask of luxury to literature. This paper traces the movement of art for art‘s sake, looking at its main figures from across Europe. It poses the question of whether art is supposed to moralize and teach or devote itself to the creation and championing of the cause of beauty and idealism. Believing that art had declined in an era of utility and rationalism, rebellion against Victorian middle class moral standards was unavoidable.
  • Protecting Postmodern Historicism: Identification, Ve Aluation, and Prescriptions for Preeminent Sites

    Protecting Postmodern Historicism: Identification, Ve Aluation, and Prescriptions for Preeminent Sites

    University of Pennsylvania ScholarlyCommons Theses (Historic Preservation) Graduate Program in Historic Preservation 2013 Protecting Postmodern Historicism: Identification, vE aluation, and Prescriptions for Preeminent Sites Jonathan Vimr University of Pennsylvania Follow this and additional works at: https://repository.upenn.edu/hp_theses Part of the Historic Preservation and Conservation Commons Vimr, Jonathan, "Protecting Postmodern Historicism: Identification, vE aluation, and Prescriptions for Preeminent Sites" (2013). Theses (Historic Preservation). 211. https://repository.upenn.edu/hp_theses/211 Suggested Citation: Vimr, Jonathan (2013). Protecting Postmodern Historicism: Identification, vE aluation, and Prescriptions for Preeminent Sites. (Masters Thesis). University of Pennsylvania, Philadelphia, PA. This paper is posted at ScholarlyCommons. https://repository.upenn.edu/hp_theses/211 For more information, please contact [email protected]. Protecting Postmodern Historicism: Identification, vE aluation, and Prescriptions for Preeminent Sites Abstract Just as architectural history traditionally takes the form of a march of styles, so too do preservationists repeatedly campaign to save seminal works of an architectural manner several decades after its period of prominence. This is currently happening with New Brutalism and given its age and current unpopularity will likely soon befall postmodern historicism. In hopes of preventing the loss of any of the manner’s preeminent works, this study provides professionals with a framework for evaluating the significance of postmodern historicist designs in relation to one another. Through this, the limited resources required for large-scale preservation campaigns can be correctly dedicated to the most emblematic sites. Three case studies demonstrate the application of these criteria and an extended look at recent preservation campaigns provides lessons in how to best proactively preserve unpopular sites.
  • Installation Art in India: Concepts and Roots

    Installation Art in India: Concepts and Roots

    [Aaftab *, Vol.4 (Iss.10): October, 2016] ISSN- 2350-0530(O) ISSN- 2394-3629(P) IF: 4.321 (CosmosImpactFactor), 2.532 (I2OR) Arts INSTALLATION ART IN INDIA: CONCEPTS AND ROOTS Mohsina Aaftab *1 *1 Research Scholar, Department of Fine Arts, A.M.U., Aligarh, INDIA DOI: 10.5281/zenodo.164831 ABSTRACT Present study focuses on the new media Installation Art in India, its present scenario, and backgrounds. Essentially installation art has taken its heritage from conceptual art, which came into prominence in 1970s, when the concept or idea was prominent – when an artist uses a conceptual form of art which means that all of the arrangement and conclusion are made previously and the implementation is an obligatory concern. So, spontaneously idea became a machine that makes the art. An idea suddenly pops in his mind and he just implemented it, in his very own way. This kind of art does not narrow itself to gallery spaces and can refer to any materials intervention in everyday public or private spaces. After India became independent, art began to change here. considerately several movements and group bounced up all over the country headed by ambitious young artists with vision of bringing modern art to India. Now the art of India is totally changed. Contemporaries are not bound to use paper and canvas, wall or any other art surfaces. They are not bound to make mythological paintings or sculptures but they are free to do anything, they are free to use any medium, material and space they want. After a European artist Marcel Duchamp’s “ready-mades artist” started exploring the margin of art, trying to eliminate the contrast between art and life.
  • Stockhausen Works for Orchestra

    Stockhausen Works for Orchestra

    composed 37 works for orchestra from 1950 to 2007. SCORES , compact discs, books , posters, videos, music boxes may be ordered directly from the Stockhausen-Verlag . A complete list of Stockhausen ’s works and CDs is available free of charge from the Stockhausen-Verlag , Kettenberg 15, 51515 Kürten, Germany (Fax: +49 [0]2268-1813; e-mail [email protected]) www.stockhausen.org Duration Publisher CD of the Stockhausen Complete Edition 1950 DREI LIEDER (THRE E SONGS [19 ’26”] U.E. e1 for alto voice and chamber orchestra ( cond. )(Universal Edition ) (fl. / 2 cl. / bsn. / tp. / trb. / 2 perc. / piano / elec. harpsichord / strings) 1951 FORMEL (FORMULA) [12 ’57”] U. E e2 for orchestra [28 players] ( cond. ) 1952 SPIEL (PLAY) [16 ’01”] U. E. e2 for orchestra ( cond. ) 195 2/ PUNKTE (POINTS) [ca. 27 ’] U. E. e2 E81‰ 1962 / 1993 for orchestra ( cond. ) 195 2 KONTRA-PUNKTE (COUNTER-POINTS) [14 ’13”] U. E. e4 to 53 for 10 instruments ( cond. ) (fl. / cl. / bass cl. / bsn. / tp. / trb. / piano / harp / vl. / vc.) 195 5 GRUPPEN (GROUPS) [24 ’25”] U. E. e5 to 57 for 3 orchestras ( 3 cond. ) 195 9 CARRÉ [ca. 36’] U. E. e5 to 60 for 4 orchestras and 4 choirs ( 4 cond. ) 196 2 MOMENTE (MOMENTS) [113’] St. e7 E80‰ to 64 for solo soprano, 4 choir groups (Stockhausen-Verlag ) (finished in ’69) and 13 instrumentalists ( cond. ) 1964 MIXTUR (MIXTURE) [ca. 2 x 27’] U. E for orchestra, 4 sine-wave generators and 4 ring modulators ( cond. ) 1964 / MIXTUR (MIXTURE) [2 x 27’] U. E. e8 1967 for small orchestra (cond.
  • AP Art History Unit Sheet #21 Romanticism, Realism, and Photography

    AP Art History Unit Sheet #21 Romanticism, Realism, and Photography

    AP Art History Unit Sheet #21 Romanticism, Realism, and Photography Works of Art Artist Medium Date Page # 27‐1: Napoleon at the Plague House at Jaffa Gros Painting 1804 754 27‐2: Coronation of Napoleon David Painting 1805‐1808 757 27‐4: Pauline Borghese as Venus Canova Sculpture 1808 759 27‐6: Apotheosis of Homer Ingres Painting 1827 761 27‐7: Grande Odalisque Ingres Painting 1814 761 27‐8: The Nightmare Fuseli Painting 1781 762 27‐9: Ancient of Days Blake Painting 1794 763 27‐10: The Sleep of Reason Produces Monsters Goya Painting 1798 763 27‐11: Third of May, 1808 Goya Painting 1814‐1815 764 27‐13: The Raft of the Medusa Gericault Painting 1819 765 27‐16: Liberty Leading the People Delacrois Painting 1830 768 27‐19: Abbey in the Oak Forest Friedrich Painting 1810 771 27‐21: The Haywain Constable Painting 1821 772 27‐22: The Slave Ship Turner Painting 1840 773 27‐23: The Oxbow ColePainting1836 773 27‐26: The Stone Breakers Courbet Painting 1849 775 27‐27: Burial at Ornans Courbet Painting 1849 776 27‐28: The Gleaners Millet Painting 1857 777 27‐30: Third Class Carriage Daumier Painting 1862 779 27‐31: The Horse Fair Bonheur Painting 1853‐1855 780 27‐32: Le Dejeauner sure l’herbe Manet Painting 1863 781 27‐33: Olympia Manet Painting 1863 781 27‐35: Veteran in a New Field Homer Painting 1865 783 27‐36: The Gross Clinic Eakins Painting 1875 783 27‐37: The Daughters of Edward Darley Boit Sargent Painting 1882 784 27‐38: The Thankful Poor Tanner Painting 1894 785 27‐40: Ophelia Millais Painting 1852 786 27‐43: House of Parliament, London Pugin/ Barry Architecture 1835 788 27‐44: Royal Pavilion, Brighton Nash Architecture 1815‐1818 789 27‐45: Paris Opera Garnier Architecture 1861‐1874 789 27‐48: Still Life in Studio Daguerre Photography 1837 792 27‐51: Nadar Raising Photography to the Height of Art Daumier Lithograph 1862 794 27‐53: A Harvest of Death, Gettysburg, Pennsylvania O’Sullivan Photography 1863 795 27‐54: Horse Galloping Muybridge Calotype 1878 796 CONTEXT ­ Europe and France 1.
  • Cubism in America

    Cubism in America

    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Sheldon Museum of Art Catalogues and Publications Sheldon Museum of Art 1985 Cubism in America Donald Bartlett Doe Sheldon Memorial Art Gallery Follow this and additional works at: https://digitalcommons.unl.edu/sheldonpubs Part of the Art and Design Commons Doe, Donald Bartlett, "Cubism in America" (1985). Sheldon Museum of Art Catalogues and Publications. 19. https://digitalcommons.unl.edu/sheldonpubs/19 This Article is brought to you for free and open access by the Sheldon Museum of Art at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Sheldon Museum of Art Catalogues and Publications by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. RESOURCE SERIES CUBISM IN SHELDON MEMORIAL ART GALLERY AMERICA Resource/Reservoir is part of Sheldon's on-going Resource Exhibition Series. Resource/Reservoir explores various aspects of the Gallery's permanent collection. The Resource Series is supported in part by grants from the National Endowment for the Arts. A portion of the Gallery's general operating funds for this fiscal year has been provided through a grant from the Institute of Museum Services, a federal agency that offers general operating support to the nation's museums. Henry Fitch Taylor Cubis t Still Life, c. 19 14, oil on canvas Cubism in America .".. As a style, Cubism constitutes the single effort which began in 1907. Their develop­ most important revolution in the history of ment of what came to be called Cubism­ art since the second and third decades of by a hostile critic who took the word from a the 15th century and the beginnings of the skeptical Matisse-can, in very reduced Renaissance.
  • Modernism 1 Modernism

    Modernism 1 Modernism

    Modernism 1 Modernism Modernism, in its broadest definition, is modern thought, character, or practice. More specifically, the term describes the modernist movement, its set of cultural tendencies and array of associated cultural movements, originally arising from wide-scale and far-reaching changes to Western society in the late 19th and early 20th centuries. Modernism was a revolt against the conservative values of realism.[2] [3] [4] Arguably the most paradigmatic motive of modernism is the rejection of tradition and its reprise, incorporation, rewriting, recapitulation, revision and parody in new forms.[5] [6] [7] Modernism rejected the lingering certainty of Enlightenment thinking and also rejected the existence of a compassionate, all-powerful Creator God.[8] [9] In general, the term modernism encompasses the activities and output of those who felt the "traditional" forms of art, architecture, literature, religious faith, social organization and daily life were becoming outdated in the new economic, social, and political conditions of an Hans Hofmann, "The Gate", 1959–1960, emerging fully industrialized world. The poet Ezra Pound's 1934 collection: Solomon R. Guggenheim Museum. injunction to "Make it new!" was paradigmatic of the movement's Hofmann was renowned not only as an artist but approach towards the obsolete. Another paradigmatic exhortation was also as a teacher of art, and a modernist theorist articulated by philosopher and composer Theodor Adorno, who, in the both in his native Germany and later in the U.S. During the 1930s in New York and California he 1940s, challenged conventional surface coherence and appearance of introduced modernism and modernist theories to [10] harmony typical of the rationality of Enlightenment thinking.