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Art since 1900: Modernism, Antimodernism, Postmodernism
Art Bulletin, The, June, 2006 by Nancy J. Troy, Geoffrey Batchen, Amelia Jones, Pamela M. Lee, Romy Golan, Robert Storr, Jodi Hauptman, Dario Gamboni
DARIO GAMBONI is professor in the history of art at the Universite de Geneve [Unite d'Histoire de l'Art, Uni-Bastions, CH-1211 Geneve 4, Switzerland].
Notes
1. Franz Kugler, Handbuch der Kunstgeschichte (Stuttgart: Ebner und Seubert, 1842); and Petra ten-Doesschate Chu, Nineteenth-Century European Art (New York: Harry N. Abrams, 2003).
2. Architecture is dealt with in a textbook on the art of the nineteenth and twentieth centuries published in 1995 in the Flammarion Histoire de l'art series: Philippe Dagen and Francoise Hamon, eds., Epoque contemporaine XIXe-XXe siecles (Paris: Flammarion, 1995). Typologically as inclusive but chronologically more focused is the most recent textbook published in French: Daniel Soutif, ed., L'art du XXe siecle, 1939-2002: De l'art moderne a l'art contemporain (Paris: Citadelles et Mazenod, 2005).
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3. Jean-Louis Ferrier with Yann Le Pichon, L'aventure de l'art au XXe siecle (Paris: Chene/Hachette, 1988).
4. Julius Meier-Graefe, Entwicklungsgeschichte der modernen Kunst (Stuttgart: Julius Hoffmann, 1904; 2nd enl. ed., Munich: Piper, 1914-24); Meier-Graefe's influential book was translated into English by Florence Simmonds and George W. Chrystal as Modern Art; Being a Contribution to a New System of Aesthetics (London: Heinemann; New York: Putnam, 1908); it is not mentioned in Art since 1900.
5. Pepe Karmel, "Pollock at Work: The Films and Photographs of Hans Namuth," in Jackson Pollock, by Kirk Varnedoe with P. Karmel, exh. cat., Museum of Modern Art, New York (New York: Harry N. Abrams, 1998); and Anna C. Chave, "Minimalism and the Rhetoric of Power," Arts Magazine 64, no. 5 (1990): 5, 44-63.
6. See, for instance, the offhand dismissal of French abstract painting of the 1950s as an art of "poseurs and composers" (p. 518).
7. Hans Belting, Heinrich Dilly, Wolfgang Kemp, Willibald Sauerlander and Martin Warnke, eds., Kunstgeschichte: Eine Einfuhrung (1985; 3rd rev. ed., Berlin: Reimer, 1988); Donald Preziosi, The Art of Art History: A Critical Anthology (Oxford: Oxford University Press, 1998); and Robert Nelson and Richard Shiff, eds., Critical Terms for Art History (1992; 2nd enl. ed., Chicago: University of Chicago Press, 2003).
8. Harrison C. White and Cynthia A. White, Canvases and Careers: Institutional Change in the French Painting World (New York: Wiley, 1965; 2nd rev. ed., Chicago: University of Chicago Press, 1993); Raymonde Moulin, The French Art Market: A Sociological View, trans. Arthur Goldhammer (1967; New Brunswick, N.J.: Rutgers University Press, 1987); R. Moulin with Pascaline Costa, L'artiste, l'institution et le marche (Paris: Flammarion, 1992); Howard Saul Becker, Art Worlds (Berkeley: University of California Press, 1982); Martin Warnke, The Court Artist: On the Ancestry of the Modern Artist, trans. David McLintock (1985; Cambridge: Cambridge University Press, 1993); and Oskar Batschmann, The Artist in the Modern World: The Conflict between Market and Self-Expression (New Haven: Yale University Press, 1997).
