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Nothing if not critical : selected essays on art and artists

Author: Robert Hughes
Publisher: New York : A.A. Knopf : Distributed by Random House, 1990.
Edition/Format:   eBook : Document : English : 1st edView all editions and formats
Summary:
From Holbein to Hockney, from Norman Rockwell to Pablo Picasso, from sixteenth-century Rome to 1980s SoHo, Robert Hughes looks with love, loathing, warmth, wit and authority at a wide range of art and artists, good, bad, past and present. As art critic for Time magazine, internationally acclaimed for his study of modern art, The Shock of the New, he is perhaps America's most widely read and admired writer on art. In  Read more...
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Genre/Form: Electronic books
Criticism, interpretation, etc
Biographies
Additional Physical Format: Print version:
Hughes, Robert, 1938-
Nothing if not critical.
New York : A.A. Knopf : Distributed by Random House, 1990
(DLC) 89043384
(OCoLC)21561795
Material Type: Document, Internet resource
Document Type: Internet Resource, Computer File
All Authors / Contributors: Robert Hughes
ISBN: 9780307809599 0307809595
OCLC Number: 707239996
Reproduction Notes: Electronic reproduction. [S.l.] : HathiTrust Digital Library, 2011. MiAaHDL
Description: 1 online resource (xii, 429 pages)
Details: Master and use copy. Digital master created according to Benchmark for Faithful Digital Reproductions of Monographs and Serials, Version 1. Digital Library Federation, December 2002.
Contents: Introduction: The decline of the city of Mahagonny --
Ancestors: Hans Holbein --
Caravaggio --
France in the golden age --
Anthony Van Dyck --
George Stubbs --
Sir Joshua Reynolds --
Goya --
Zurbaran --
Nicolas Poussin --
Guido Reni --
Inigo Jones --
Jean-Simeon Chardin --
John Constable --
Antoine Watteau --
Nineteenth Century: German Romanticism --
Edgar Degas --
Courbet in Brooklyn --
John Singer Sargent --
Augustus Saint-Gaudens --
Winslow Homer --
James Whistler --
Pre-Raphaelites --
Camille Pissarro --
Thomas Eakins --
Into Modernism: Toulouse-Lautrec --
Auguste Rodin --Van Gogh and Cloisonnism --
Edouard Manet --
Henri Rousseau --
Vincent van Gogh, part 1 --
Vincent van Gogh, part 2 --
Paul Gauguin --
Europeans: Rene Magritte --
Vasily Kandinsky --
Giorgio de Chirico --
Julio Gonzalez --
Max Beckmann --
Henri Matisse in Nice --
Futurism --
English art in the twentieth century --
Oskar Kokoschka --
Giorgio Morandi --
Late Picasso --
Americans: Thomas Hart Benton --
Deco and Fins --
Morris Louis --
Diego Rivera --
David Smith, sculptures --
David Smith, drawings --
Lee Krasner --
Milton Avery --
Jackson Pollock --
Arshile Gorky --
Joseph Cornell --
Edward Hopper --
Norman Rockwell --
Mark Rothko in Babylon --
Andy Warhol --
Contemporaries: Saul Steinberg --
James Turrell --
R.B. Kitaj --
Roy Lichtenstein --
Nam June Paik --
Richard Diebenkorn --
Komar and Melamid --
Howard Hodgkin --
Louise Bourgeois --
Philip Pearlstein --
Robert Motherwell --
Sandro Chia --
Malcolm Morley --
Julian Schnabel --
Jean-Michel Basquiat: Requiem for a Featherweight --
Willem de Kooning --
Francis Bacon --
Francesco Clemente --
James Rosenquist --
Alex Katz --
Susan Rothenberg --
Anselm Kiefer --
Elizabeth Murray --
David Hockney --
Donald Sultan --
Leon Kossoff --
Eric Fischl --
Sean Scully --
Christopher Wilmarth --
Bernard Berenson --
Tom Wolfe: From Baubaus to our house --
Brideshead Redecorated --
Jean Baudrillard: America --
Art and money --
SoHoiad: or, the Masque of art --
Index.
Responsibility: Robert Hughes.

Abstract:

From Holbein to Hockney, from Norman Rockwell to Pablo Picasso, from sixteenth-century Rome to 1980s SoHo, Robert Hughes looks with love, loathing, warmth, wit and authority at a wide range of art and artists, good, bad, past and present. As art critic for Time magazine, internationally acclaimed for his study of modern art, The Shock of the New, he is perhaps America's most widely read and admired writer on art. In this book: nearly a hundred of his finest essays on the subject. For the realism of Thomas Eakins to the Soviet satirists Komar and Melamid, from Watteau to Willem de Kooning to Susan Rothenberg, here is Hughes'astute, vivid and uninhibited'on dozens of famous and not-so-famous artists. He observes that Caravaggio was "one of the hinges of art history; there was art before him and art after him, and they were not the same"; he remarks that Julian Schnabel's "work is to painting what Stallone's is to acting"; he calls John Constable's Wivenhoe Park "almost the last word on Eden-as-Property"; he notes how "distorted traces of [Jackson] Pollock lie like genes in art-world careers that, one might have thought, had nothing to do with his." He knows how Norman Rockwell made a chicken stand still long enough to be painted, and what Degas said about success (some kinds are indistinguishable from panic). Phrasemaker par excellence, Hughes is at the same time an incisive and profound critic, not only of particular artists, but also of the social context in which art exists and is traded. His fresh perceptions of such figures as Andy Warhol and the French writer Jean Baudrillard are matched in brilliance by his pungent discussions of the art market'its inflated prices and reputations, its damage to the public domain of culture. There is a superb essay on Bernard Berenson, and another on the strange, tangled case of the Mark Rothko estate. And as a finale, Hughes gives us "The SoHoiad," the mock-epic satire that so amused and annoyed the art world in the mid-1980s. A meteor of a book that enlightens, startles, stimulates and entertains.

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