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008 240426t20182003nyu fo d z eng d
020 _a9781501717468
_qPDF
024 7 _a10.7591/9781501717468
_2doi
035 _a(DE-B1597)9781501717468
035 _a(DE-B1597)503532
035 _a(OCoLC)1038479169
040 _aDE-B1597
_beng
_cDE-B1597
_erda
072 7 _aART015100
_2bisacsh
082 0 4 _a709/.41/0904
084 _aonline - DeGruyter
100 1 _aWolff, Janet
_eautore
245 1 0 _aAngloModern :
_bPainting and Modernity in Britain and the United States /
_cJanet Wolff.
264 1 _aIthaca, NY :
_bCornell University Press,
_c[2018]
264 4 _c©2003
300 _a1 online resource (192 p.) :
_b29 halftones, 1 table
336 _atext
_btxt
_2rdacontent
337 _acomputer
_bc
_2rdamedia
338 _aonline resource
_bcr
_2rdacarrier
347 _atext file
_bPDF
_2rda
505 0 0 _tFrontmatter --
_tContents --
_tList of Illustrations --
_tAcknowledgments --
_tINTRODUCTION. AngloModern: The Painting of Modern Life --
_t1. Women at the Whitney, 1910–30: Feminism, Sociology, Aesthetics --
_t2. Questions of Discovery: The Art of Kathleen McEnery --
_t3. Gender and the Haunting of Cities: Or, the Retirement of the Flaneur --
_t4. The Feminine in Modern Art: Benjamin, Simmel, and the Gender of Modernity --
_t5. The Failure of a Hard Sponge: Class, Ethnicity, and the Art of Mark Gertler --
_t6. The "Jewish Mark" in English Painting: Cultural Identity and Modern Art --
_tAFTERWORD. Modernism, Realism, Revisionism --
_tIndex
506 0 _arestricted access
_uhttp://purl.org/coar/access_right/c_16ec
_fonline access with authorization
_2star
520 _aEarly twentieth-century art and art practice in Britain and the United States were, Janet Wolff asserts, marginalized by critics and historians in very similar ways after the rise of post-Cubist modern art. In a masterly book on the sociology of modernism, Wolff explores work that was primarily realist and figurative and investigates the social, institutional, political, and aesthetic processes by which that art fell by the wayside in the postwar period. Throughout, she shows that questions of gender and ethnicity play an important role in critical, curatorial, and historical evaluations. For example, Wolff finds that the work of the artists central to the development of the Whitney Museum was relegated to a secondary status in the postwar period, when realism was labeled "feminine" in contrast to the aggressive masculinity of abstract expressionism.The three key periods considered in AngloModern are the early twentieth century, when modernist art and existing and new realist traditions coexisted in a certain tension; the postwar period, in which modernism claimed superiority over realism; and the late twentieth century, when a retrieval of the realist and figurative traditions seemed to occur. Wolff concludes by considering this re-emergence, as well as the limitations of earlier discussions of the struggles of realist and figurative art to endure the currents of modernism.
538 _aMode of access: Internet via World Wide Web.
546 _aIn English.
588 0 _aDescription based on online resource; title from PDF title page (publisher's Web site, viewed 26. Apr 2024)
650 4 _aAmerican Studies.
650 4 _aArt History.
650 7 _aART / History / Modern (late 19th Century to 1945).
_2bisacsh
850 _aIT-RoAPU
856 4 0 _uhttps://doi.org/10.7591/9781501717468
856 4 0 _uhttps://www.degruyter.com/isbn/9781501717468
856 4 2 _3Cover
_uhttps://www.degruyter.com/document/cover/isbn/9781501717468/original
942 _cEB
999 _c221744
_d221744