Cover image for Modern art, 1851-1929 : capitalism and representation
Modern art, 1851-1929 : capitalism and representation
Brettell, Richard R.
Personal Author:
Publication Information:
Oxford ; New York : Oxford University Press, 1999.
Physical Description:
ix, 258 pages : illustrations (some color) ; 25 cm.

Format :


Call Number
Material Type
Home Location
Item Holds
N6757 .B74 1999 Adult Non-Fiction Non-Fiction Area

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Richard Brettell's innovative and beautifully-illustrated account, the latest addition to the acclaimed Oxford History of Art series, explores the works of artists such as Monet, Gauguin, Picasso, and Dali--as well as lesser-known figures--in relation to expansion, colonialism, nationalism and internationalism, and the rise of the museum. Beginning with The Great Exhibition of 1851 in London, Brettell follows the development of the major European avant-garde groups: the Realists, Impressionists, Post-Impressionists, Symbolists, Cubists, and Surrealists. Giving attention to the changing social, economic, and political climate, the book focuses on conditions for the development of modern art such as urban capitalism, modernity, and the accessible image made possible by art museums, temporary exhibitions, lithography, and photography. Brettell examines artists' responses to modernism, including changes in representation, vision, and "the art of seeing." Combining the most recent scholarship with 140 illustrations--75 in full color--the book chronicles the change in art and image itself, from the iconology of new representations of the nude human form to the anti-iconography of "art without 'subject'": landscape painting, text and image, and abstraction.
Tracing common themes of representation, imagination, perception, and sexuality across works in a wide range of different media, and offering profuse illustration to bring the changing art forms vividly to life, Modern Art 1851-1929 presents a fresh approach to the fine art and photography of this remarkable era.

Author Notes

Richard Brettell is Professor of Aesthetic Studies at the University of Texas at Dallas

Table of Contents

Julie Lawrence Cochran
Introduction: The Great Exhibition of 1851, Londonp. 1
Paris: the capital of modern artp. 3
New technologyp. 3
The beginnings of modern artp. 5
Part I Realism to Surrealismp. 9
Realismp. 13
Impressionismp. 15
Symbolismp. 19
Post-Impressionismp. 21
Neo-Impressionismp. 24
Synthetismp. 26
The Nabisp. 27
The Fauvesp. 29
Expressionismp. 30
Cubismp. 32
Futurismp. 35
Orphismp. 36
Vorticismp. 38
Suprematism/Constructivismp. 39
Neo-Plasticismp. 40
Dadap. 42
Purismp. 43
Surrealismp. 44
The '-ism' problemp. 46
Part II The Conditions for Modern Artp. 49
Chapter 1 Urban Capitalismp. 51
Paris and the birth of the modern cityp. 52
Capitalist societyp. 56
The commodification of artp. 58
The modern conditionp. 60
Chapter 2 Modernity, Representation, and the Accessible Imagep. 65
The art museump. 67
Temporary exhibitionsp. 70
Lithographyp. 72
Photographyp. 74
Conclusionp. 78
Part III The Artist's Responsep. 81
Chapter 3 Representation, Vision, and 'Reality': The Art of Seeingp. 83
The human eyep. 86
Transparency and unmediated modernismp. 87
Surface fetishism and unmediated modernismp. 89
Photography and unmediated modernismp. 92
Beyond the oil sketchp. 95
Cubismp. 97
Chapter 4 Image/Modernism and the Graphic Trafficp. 105
The Pre-Raphaelite brotherhoodp. 110
Puvis de Chavannes and Gustave Moreau: image/modernism outside the avant-gardep. 111
Image/modernism outside Francep. 114
Exhibitions of the avant-gardep. 116
Fragmentation, dislocation, and recombinationp. 120
Part IV Iconologyp. 125
Introductionp. 127
Chapter 5 Sexuality and the Bodyp. 131
Manet's bodiesp. 131
Modern art and pornographyp. 136
The nude and the modernist cycle of lifep. 138
The bathing nudep. 141
The allegorical or non-sexual nudep. 146
Colonialism and the nude: the troubled case of Gauguinp. 147
The bride stripped barep. 150
Body parts and fragmentsp. 151
Chapter 6 Social Class and Class Consciousnessp. 155
Seurat and A Summer Sunday on the Island of the Grande Jatte (1884)p. 155
Class issues in modernist culturep. 159
Portraiturep. 163
Images of peasantryp. 170
The worker and modern artp. 174
Chapter 7 Anti-Iconography: Art Without 'Subject'p. 181
Landscape paintingp. 181
Text and imagep. 187
Abstractionp. 190
Chapter 8 Nationalism and Internationalism in Modern Artp. 197
National identityp. 197
Time and placep. 200
Abstract art, spiritualism, and internationalismp. 202
Nationalist landscape paintingp. 206
Afterword: The Private Institutionalization of Modern Artp. 211
Notesp. 218
List of Illustrationsp. 226
Bibliographic Essayp. 232
Timelinep. 240
Indexp. 250