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Other titles in the Movements in Modern Art series:
Realism (Movements in Modern Art)by James Malpas
Synopses & Reviews
Realist art of the twentieth century is striking for its diversity. It has no shared style or manifesto of intention. Yet a common thread in realist art is a commitment to the modern world and to things as they are. This book examines realism in Europe and America, beginning with its roots in the aims of Gustave Courbet in nineteenth-century France. The realist outlook is exemplified in the work of Georg Grosz in his observations of urban life in Weimar Germany or, in America, in the high focus paintings of Edward Hopper and Grant Wood. The author also examines the so-called "socialist realism" of Stalin's Soviet Union and the condemnation in Germany of artists not conforming to Nazi academic-realist demands. He describes French and Italian painting between the wars and the political intentions of Mexican muralist Diego Rivera. British realists, among them Stanley Spencer, Lucian Freud and David Hockney, are discussed in detail, as are the Pop artists Richard Hamilton and Andy Warhol.
Realism in the art of the twentieth century is striking for its diversity. Although not bound together stylistically or by a manifesto of intention, a common thread in realist art is a commitment to the modern world and to things as they appear, whether it be the domestic claustrophobia depicted in Sickert's 'Ennui' or the social observation of urban nightlife in Weimar Germany in the work of Christian Schad and Georg Schrimpf. James Malpas also examines its varied and vibrant quality revealed in the 'Pop Art' backlash in the United States and Britain, in the work of David Hockney, Richard Hamilaton, and Andy Warhol.
A study of the typical chracteristics of twentieth-century realism.
Table of Contents
Introduction; 1. The Nineteenth-Century Legacy: Pre-Raphaelism, Courbet and Bastien-Lepage; 2. Realism and the Avant-Garde in the Early Twentieth Century; 3. The First World War; 4. Realism eclipsed; 5. Pop Art and after; 6. Realism and the present.
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