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Manet's modernism, or, The face of painting in the 1860s

Auteur : Michael Fried
Éditeur : Chicago : University of Chicago Press, 1996.
Édition/format :   Livre : AnglaisVoir toutes les éditions et les formats
Base de données :WorldCat
Résumé :
Manet's Modernism, or, The Face of Painting in the 1860s is the culminating work in a trilogy of books by Michael Fried exploring the roots and genesis of pictorial modernism. Building on his earlier studies of the central antitheatrical tradition within Enlightenment and post-Enlightenment French painting, Fried argues that previous accounts of Edouard Manet as the first modernist painter are based on a simplistic
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Détails

Genre/forme : Quelle
Criticism, interpretation, etc
Personne nommée : Édouard Manet; Édouard Manet; Édouard Manet; Édouard Manet; Edouard Manet; Edouard Manet; Edouard Manet; Édouard Manet
Type d’ouvrage : Ressource Internet
Format : Livre, Ressource Internet
Tous les auteurs / collaborateurs : Michael Fried
ISBN : 0226262162 9780226262161 9780226262178 0226262170
Numéro OCLC : 32310944
Description : xxviii, 647 p., [16] p. of plates : ill. (some col.) ; 26 cm.
Contenu : Introduction: Manet before Impressionism --
1. Manet's Sources, 1859-1869 --
2. "Manet's Sources" Reconsidered --
3. The Generation of 1863 --
4. Manet in His Generation --
5. Between Realisms --
Coda: Manet's Modernism --
Appendix 1 Antonin Proust, "L'Art d'Edouard Manet" (1901) --
Appendix 2 Edmond Duranty, "Ceux qui seront les peintres" (1867) --
Appendix 3 Le Capitaine Pompilius [Carle Desnoyers], remarks on Manet (1863) --
Appendix 4 Zacharie Astruc, remarks on Manet (1863).
Autres titres : Manet's modernism
Face of painting in the 1860s
Responsabilité : Michael Fried.
Plus d’informations :

Résumé :

Manet's Modernism, or, The Face of Painting in the 1860s is the culminating work in a trilogy of books by Michael Fried exploring the roots and genesis of pictorial modernism. Building on his earlier studies of the central antitheatrical tradition within Enlightenment and post-Enlightenment French painting, Fried argues that previous accounts of Edouard Manet as the first modernist painter are based on a simplistic reading of the situation Manet inherited and, partly as a result, fail to grasp the specificity, complexity, and ambition - also the deeply problematic nature - of his epochal paintings of the 1860s.

By placing the painter squarely within his generation (along with Henri Fantin-Latour, Alphonse Legros, and James McNeill Whistler, all of whom are treated at length) as well as in the context of the art-critical discourse of his time, Fried transforms our sense of Manet's artistic project. Instead of the usual emphasis on flatness and visuality, Fried focuses on aspects of Manet's work that have either been minimized or ignored: his repeated allusions to Old Master sources, his desire for "universality" as regards both national schools and individual genres, his efforts to annul the absorptive basis of the modern French tradition, his invention of a sort of portrait-tableau, above all his pursuit of facingness and strikingness as means of reconstructing the relationship between painting and beholder.

The result is an entirely new understanding not only of the art of Manet and his generation but also of the way in which the Impressionist simplification of Manet's achievement had determined subsequent accounts of pictorial modernism down to the present. Like Fried's previous books, Manet's Modernism is a milestone in the historiography of modern art.

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Données liées


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