Modern Art and Modernism offers firsthand material for the study of issues central to the development of modern art, its theory, and criticism. The history of modern art is not simply a history of works of art, it is also a history of ideas interpretations. The works of critics and theorists have not merely been influential in deciding how modern art is to be seen and understood, they have also influenced the course it has taken. The nature of modern art cannot be understood without some analysis of the concept of Modernism itself.Modern Art and Modernism presents a selection of texts by the major contributors to debate on this subject, from Baudelaire and Zola in the nineteenth century to Greenberg and T. J. Clark in our own times. It offers a balanced section of essays by contributors to the mainstream of Modernist criticism, representative examples of writing on the themes of abstraction and expression in modern art, and a number of important contributions to the discussion of aesthetics and the social role of the artist. Several of these are made available in English translation for the first time, and others are brought together from a wide range of periodicals and specialized collections.This book will provide an invaluable resource for teachers and students of modern art, art history, and aesthetics, as well as for general readers interested in the place of modern art in culture and history.

part |12 pages

Introductory Texts

chapter 1|6 pages

Modernist Painting

chapter 2|4 pages

Historical Interpretation

part One|50 pages

Modem Life, Modernité and Modernism

part Two|68 pages

The Development of Modernism

chapter 11|8 pages

The Aesthetic Hypothesis

chapter 12|4 pages

The Debt to Cézanne

chapter 13|10 pages

An Essay in Aesthetics

chapter 14|4 pages

The French Post-Impressionists

chapter 15|12 pages

‘American-Type’ Painting

chapter 16|4 pages


chapter 17|6 pages

Master Léger

chapter 18|8 pages

Three American Painters

chapter 19|6 pages

What is Revolutionary Art?

chapter 20|4 pages

Barnett Newman

part Three|24 pages


chapter 21|8 pages

From the Easel to the Machine

chapter 22|2 pages

On Non-Objective Painting

chapter 23|4 pages

The Beauty of Non-Objectivity

chapter 24|8 pages

Illusion and Visual Deadlock

part Four|46 pages


chapter 25|6 pages

Abstraction and Empathy

chapter 26|6 pages


chapter 27|6 pages

Abstraction and Mysticism

chapter 28|14 pages

Expression and Communication

chapter 29|12 pages

Art and Inquiry

part Five|102 pages

Art and Society

chapter 31|4 pages

Literature and Revolution

chapter 32|4 pages

The Author as Producer

chapter 34|6 pages

Poetic Evidence

chapter 35|6 pages

Popularity and Realism

chapter 36|6 pages

The Sociological Approach

The Concept of Ideology in the History of Art

chapter 37|4 pages


chapter 39|10 pages

On the Social History of Art

chapter 41|10 pages

The Laundress in Late Nineteeth-Century French Culture

Imagery, Ideology and Edgar Degas

chapter 42|20 pages

Les Données Bretonnantes

La Prairie de la Représentation