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History of Modern Art, Volume I
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Table of Contents

In this Section:
1) Brief Table of Contents

2) Full Table of Contents

BRIEF TABLE OF CONTENTS:

Chapter 1: The Origins of Modern Art

Chapter 2: The Search for Truth: Early Photography, Realism, and Impressionism

Chapter 3: Post-Impressionism

Chapter 4: Arts and Crafts, Art Nouveau, and the Beginnings of Expressionism

Chapter 5: The New Century: Experiments in Color and Form

Chapter 6: Expressionism in Germany and Austria

Chapter 7: Cubism

Chapter 8: Early Modern Architecture

Chapter 9: European Art after Cubism

Chapter 10: Picturing the Wasteland: Western Europe during World War I

Chapter 11: Art in France after World War I

Chapter 12: Clarity, Certainty, and Order: De Stijl and the Pursuit of Geometric Abstraction

Chapter 13: Bauhaus and the Teaching of Modernism

Chapter 14: Surrealism

Chapter 15: American Art Before World War II


FULL TABLE OF CONTENTS:

Chapter 1: The Origins of Modern Art

Making Art and Artists: The Role of the Critic

The Modern Artist

What Does It Mean to Be an Artist?: From Academic Emulation toward Romantic Originality

Making Sense of a Turbulent World: The Legacy of Neoclassicism and Romanticism

Chapter 2: The Search for Truth: Early Photography, Realism, and Impressionism

New Ways of Seeing: Photography and its Influence

Only the Truth: Realism

Seizing the Moment: Impressionism and the Avant-Garde

From Realism to Impressionism

Nineteenth-Century Art in the United States

Chapter 3: Post-Impressionism

The Poetic Science of Color: Seurat and the Neo-Impressionist

Form and Nature: Paul Cezanne

The Triumph of Imagination: Symbolism

An Art Reborn: Rodin and Sculpture at the Fin de Siecle

Primitivism and the Avant-Garde: Gauguin and Van Gogh

A New Generation of Prophets: The Nabis

Montmartre: At Home with the Avant-Garde

Chapter 4: Arts and Crafts, Art Nouveau, and the Beginnings of Expressionism

"A Return to Simplicity": The Arts and Crafts Movement and Experimental

Architecture

Experiments in Synthesis: Modernism beside the Hearth

With Beauty at the Reins of Industry: Aestheticism and Art Nouveau

Natural Forms for the Machine Age: The Art Nouveau Aesthetic

Painting and Graphic Art

Toward Expressionism: Late Nineteenth-Century Avant-Garde Painting beyond France

Chapter 5: The New Century: Experiments in Color and Form

Fauvism

"Purity of Means" in Practice: Henri Matisse's Early Career

"Wild Beasts" Tamed: Derain, Vlaminck, and Dufy

Religious Art for a Modern Age: Georges Rouault

The Belle Epoque on Film: The Lumiere Brothers and Lartigue

Modernism on a Grand Scale: Matisse's Art after Fauvism

Forms of the Essential: Constantin Brancusi

Chapter 6: Expressionism in Germany and Austria

From Romanticism to Expressionism: Corinth and Modersohn-Becker

Spanning the Divide between Romanticism and Expressionism: Die Brucke

The Spiritual Dimension: Der Blaue Reiter

Expressionist Sculpture

Self-Examination: Expressionism in Austria

Chapter 7: Cubism

Immersed in Tradition: Picasso's Early Career

Beyond Fauvism: Braque's Early Career

"Two Mountain Climbers Roped Together": Braque, Picasso, and the

Development of Cubism

Constructed Spaces: Cubist Sculpture

An Adaptable Idiom: Developments in Cubist Painting in Paris

Other Agendas: Orphism and Other Experimental Art in

Chapter 8: Early Modern Architecture

"Form Follows Function": The Chicago School and the Origins of the Skyscraper

Modernism in Harmony with Nature: Frank Lloyd Wright

Temples for the Modern City: American Classicism 1900-15

New Simplicity Versus Art Nouveau: Vienna Before World War I

Tradition and Innovation: The German Contribution to Modern Architecture

Toward the International Style: The Netherlands and Belgium

Chapter 9: European Art after Cubism

Fantasy Through Abstraction: Chagall and the Metaphysical School

"Running on Shrapnel": Futurism in Italy

"Our Vortex is Not Afraid": Wyndham Lewis and Vorticism

A World Ready for Change: The Avant-Garde in Russia

Utopian Visions: Russian Constructivism

Chapter 10: Picturing the Wasteland: Western Europe during World War I

The World Turned Upside Down: The Birth of Dada

"Her Plumbing and Her Bridges": Dada Comes to America

"Art is Dead": Dada in Germany

Idealism and Disgust: The "New Objectivity" in Germany

Chapter 11: Art in France after World War I

Eloquent Figuration: Les Maudits

Dedication to Color: Matisse's Later Career

Celebrating the Good Life: Dufy's Later Career

Eclectic Mastery: Picasso's Career after the War

Sensuous Analysis: Braque's Later Career

Austerity and Elegance: Leger, Le Corbusier, and Ozenfant

Chapter 12: Clarity, Certainty, and Order: De Stijl and the Pursuit of Geometric Abstraction

The de Stijl Idea

Mondrian: Seeking the Spiritual Through the Rational

Van Doesburg, de Stijl, and Elementarism

De Stijl Realized: Sculpture and Architecture

Chapter 13: Bauhaus and the Teaching of Modernism

Audacious Lightness: The Architecture of Gropius

The Building as Entity: The Bauhaus

The Vorkurs: Basis of the Bauhaus Curriculum

Die Werkmeistern: Craft Masters at the Bauhaus

From Bauhaus Dessau to Bauhaus U.S.A.

Chapter 14: Surrealism

Breton and the Background to Surrealism

"Art is a Fruit": Arp's Later Career

Hybrid Menageries: Ernst's Surrealist Techniques

"Night, Music, and Stars": Miro and Organic-Abstract Surrealism

Methodical Anarchy: Andre Masson

Enigmatic Landscapes: Tanguy and Dali

Surrealism beyond France and Spain: Magritte, Delvaux, Bellmer, Matta, and Lam

Women and Surrealism: Oppenheim, Cahun, Maar, Tanning, and Carrington

Never Quite "One of Ours": Picasso and Surrealism

Pioneer of a New Iron Age: Julio Gonzalez

Surrealism's Sculptural Language: Giacometti's Early Career

Surrealist Sculpture in Britain: Moore

Bizarre Juxtapositions: Photography and Surrealism

Chapter 15: American Art Before World War II

American Artist as Cosmopolitan: Romaine Brooks

The Truth about America: The Eight and Social Criticism

A Rallying Place for Modernism: 291 Gallery and the Stieglitz Circle

Coming to America: The Armory Show

Sharpening the Focus on Color and Form: Synchromism and Precisionism

The Harlem Renaissance

Painting the American Scene: Regionalists and Social Realists

Documents of an Era: American Photographers Between the Wars

Social Protest and Personal Pain: Mexican Artists

The Avant-Garde Advances: Toward American Abstract Art

Sculpture in America Between the Wars

About the Author

Elizabeth C. Mansfield is Vice President for Scholarly Programs at the National Humanities Center in Research Triangle Park, North Carolina. She has taught art history at New York University and the University of the South in Sewanee, Tennessee . A scholar of modern European art and art historiography, her publications include books and articles on topics ranging from the origins of modernism to Picasso's Demoiselles d'Avignon to the contemporary performance and body art of Orlan. Her 2007 book Too Beautiful to Picture: Zeus, Myth, and Mimesis was awarded the College Art Association's Charles Rufus Morey book prize.

The late H.H. Arnason was a distinguished art historian, educator, and museum administrator who for many years was Vice President for Art Administration of the Solomon Guggenheim Museum in New York. He began his professional life in academia, teaching at Northwestern University, University of Chicago, and the University of Hawaii. From 1947 to 1961, Arnason was Professor and Chairman of the Department of Art at the University of Minnesota.

Reviews

"This is a significant and usable text for all undergraduate students of art history, and a very good source book for graduate students. It is an excellent source book for students studying the late nineteenth to the twenty-first centuries."

- Caterina Pierre, Kingsborough Community College CUNY

"It demonstrates a strong commitment to writing a history of modern art that is inclusive of women and artists of color. It is clearly written and works toward thorough consideration of a topic rather than superficial analysis. The best text for a course on Modern Art."

- Cynthia Fowler, Emmanuel College

"Comprehensive, in-depth study of respective stylistic developments in history of modernism; high-quality photographic reproductions; fundamental investment in discussing objects through its own evidence; willingness of text and author(s) to adjust with the times."

- Mysoon Rizk, University of Toledo

"I am pleased with the inclusion of more women and artists of color and with the context, technique and source boxes. As well, I am pleased with the increased quality of reproductions."

- Prudence Roberts, Portland Community College

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