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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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