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Marketing Modernism in Fin-de-Si Cle Europe

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Marketing Modernism in Fin-de-Si Cle Europe Cover

 

Synopses & Reviews

Publisher Comments:

In this fundamental rethinking of the rise of modernism from its beginnings in the Impressionist movement, Robert Jensen reveals that market discourses were pervasive in the ideological defense of modernism from its very inception and that the avant-garde actually thrived on the commercial appeal of anti-commercialism at the turn of the century. The commercial success of modernism, he argues, depended greatly on possession of historical legitimacy. The very development of modern art was inseparable from the commercialism many of its proponents sought to transcend. Here Jensen explores the economic, aesthetic, institutional, and ideological factors that led to its dominance in the international art world by the early 1900s. He emphasizes the role of the emerging dealer/gallery market and of modernist art historiographies in evaluating modern art and legitimizing it through the formation of a canon of modernist masters.

In describing the canon-building of modern dealerships, Jensen considers the new "ideological dealer" and explores the commercial construction of artistic identity through such rhetorical concepts as temperament and "independent art" and through such institutional structures as the retrospective. His inquiries into the fate of the juste milieu, a group of dissidents who saw themselves as "true heirs" of Impressionism, and his look at a new form of art history emerging in Germany further expose a linear, dealer- oriented history of modernist art constructed by or through the modernists themselves.

Synopsis:

"The fullest account yet of the Paris art market (and its international counterparts) and its role in the rise of modernism from laughing stock to sound investment."--Arlis

Synopsis:

In this fundamental rethinking of the rise of modernism from its beginnings in the Impressionist movement, Robert Jensen reveals that market discourses were pervasive in the ideological defense of modernism from its very inception and that the avant-garde actually thrived on the commercial appeal of anti-commercialism at the turn of the century. The commercial success of modernism, he argues, depended greatly on possession of historical legitimacy. The very development of modern art was inseparable from the commercialism many of its proponents sought to transcend. Here Jensen explores the economic, aesthetic, institutional, and ideological factors that led to its dominance in the international art world by the early 1900s. He emphasizes the role of the emerging dealer/gallery market and of modernist art historiographies in evaluating modern art and legitimizing it through the formation of a canon of modernist masters.

In describing the canon-building of modern dealerships, Jensen considers the new "ideological dealer" and explores the commercial construction of artistic identity through such rhetorical concepts as temperament and "independent art" and through such institutional structures as the retrospective. His inquiries into the fate of the juste milieu, a group of dissidents who saw themselves as "true heirs" of Impressionism, and his look at a new form of art history emerging in Germany further expose a linear, dealer- oriented history of modernist art constructed by or through the modernists themselves.

Table of Contents

Acknowledgments
Introduction3
Ch. 1"This painting sells"18
Ch. 2"The circle of dealers"49
Ch. 3Rhetoric from the Battlefield: Innovation and Independence81
Ch. 4The Retrospective107
Ch. 5The Juste Milieu International138
Ch. 6Secessionism167
Ch. 7The Rise of the Impressionist Weltanschauung201
Ch. 8Der Fall Meier-Graefe235
Postscript: 1905264
Appendix277
Notes279
Index349

Product Details

ISBN:
9780691029269
Author:
Jensen, Robert
Publisher:
Princeton University Press
Location:
Princeton
Subject:
History, modern
Subject:
Art
Subject:
Criticism
Subject:
Art, modern
Subject:
History - Neoclassical
Subject:
Criticism - General
Subject:
History - Modern (Late 19th Century to 1945)
Subject:
General
Subject:
Art and architecture
Subject:
Comparative Literature
Subject:
European History
Subject:
Criticism -- Theory.
Subject:
Modernism (Art) -- Europe.
Subject:
Art criticism - Europe - History -
Subject:
Art-Theory and Criticism
Copyright:
Edition Description:
Trade paper
Publication Date:
December 1996
Binding:
TRADE PAPER
Grade Level:
College/higher education:
Language:
English
Pages:
376
Dimensions:
9 x 6 in 19 oz

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Related Subjects

Arts and Entertainment » Art » 16th to 19th Century
Arts and Entertainment » Art » Europe General
Arts and Entertainment » Art » General
Arts and Entertainment » Art » History and Criticism
Arts and Entertainment » Art » Theory and Criticism
Science and Mathematics » Mathematics » General

Marketing Modernism in Fin-de-Si Cle Europe New Trade Paper
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$61.25 Backorder
Product details 376 pages Princeton University Press - English 9780691029269 Reviews:
"Synopsis" by , "The fullest account yet of the Paris art market (and its international counterparts) and its role in the rise of modernism from laughing stock to sound investment."--Arlis
"Synopsis" by , In this fundamental rethinking of the rise of modernism from its beginnings in the Impressionist movement, Robert Jensen reveals that market discourses were pervasive in the ideological defense of modernism from its very inception and that the avant-garde actually thrived on the commercial appeal of anti-commercialism at the turn of the century. The commercial success of modernism, he argues, depended greatly on possession of historical legitimacy. The very development of modern art was inseparable from the commercialism many of its proponents sought to transcend. Here Jensen explores the economic, aesthetic, institutional, and ideological factors that led to its dominance in the international art world by the early 1900s. He emphasizes the role of the emerging dealer/gallery market and of modernist art historiographies in evaluating modern art and legitimizing it through the formation of a canon of modernist masters.

In describing the canon-building of modern dealerships, Jensen considers the new "ideological dealer" and explores the commercial construction of artistic identity through such rhetorical concepts as temperament and "independent art" and through such institutional structures as the retrospective. His inquiries into the fate of the juste milieu, a group of dissidents who saw themselves as "true heirs" of Impressionism, and his look at a new form of art history emerging in Germany further expose a linear, dealer- oriented history of modernist art constructed by or through the modernists themselves.

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