芸術は万人のために？：１９世紀後半ドイツにおける現代美術と公衆の反目 Art for All : The Collision of Modern Art and the Public in Late Nineteenth-Century Germany

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芸術は万人のために？：１９世紀後半ドイツにおける現代美術と公衆の反目<br>Art for All : The Collision of Modern Art and the Public in Late Nineteenth-Century Germany

芸術は万人のために？：１９世紀後半ドイツにおける現代美術と公衆の反目
Art for All : The Collision of Modern Art and the Public in Late Nineteenth-Century Germany

Lewis, Beth Irwin

Princeton Univ Pr（2003/06発売）

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製本 Paperback:紙装版/ペーパーバック版／ページ数 432 p., 8 color illus.
言語 ENG
商品コード 9780691102658
DDC分類 709.4309034

基本説明

ドイツ統一後、各地で政府後援の展覧会が増加し、絵を見る大衆が誕生する。しかし１８９０年代には、新しい絵画に対する公衆の違和と芸術家の公衆軽視という今日の傾向が生まれる。
Basing her narrative on a close reading of contemporary periodicals, and lavishly complementing it with cartoons and other illustrations from these publications, Beth Irwin Lewis provides the first systematic, comprehensive study of late-nineteenth-century German art world.

Full Description

This book tells the story of Germany's rich, flourishing, and diversified world of art in the last decades of the nineteenth century - a world that has until recently been eclipsed by the events of the twentieth century. Basing her narrative on a close reading of contemporary periodicals, and lavishly complementing it with cartoons and other illustrations from these publications, Beth Irwin Lewis provides the first systematic, comprehensive study of that German art world. She focuses on how critics and the public responded to new forms of painting that emerged in the 1880s, when the explosive growth of art exhibitions supported by local governments across a recently united Germany was accompanied by skyrocketing attendance of a new mass public. Describing the rapid critical acceptance and dominance of the new modern art in the 1890s, Lewis analyzes these developments within a complex interweaving of social, cultural, and economic factors. Although critics had hoped for a unified new art for the new nation, the success of modern art fragmented the art world, as modern artists and their supporters turned away from the often unreceptive mass public of the great exhibitions. Lewis's approach through the popular journals reveals the public's growing alienation from modern artists and an increasing contempt for the public on the part of these artists and their supporters - all of which prefigured tensions in the contemporary art world. Her wide-ranging text examines not only the various ways art was promoted to and received by the public, but also anti-Semitism, the role of women artists, and changes in style of both art and criticism. Well documented, engagingly written, and vividly illustrated, this book will interest not only scholars and students but all readers interested in German cultural history and art history.

PROLOGUE: APE, APOTHEOSIS, AND SCANDEL 8 PLATES 17 PART I: THE TRIUMPH OF MODERN ART, 1885-1892 26 CHAPTER 1: CONTEMPORARY ART FOR THE MODERN NATION 28 CHAPTER 2: CARRYING ART TO THE PUBLIC 93 PART II: THE PUBLIC AND THE CRITIC 140 PART III: THE FRAGMENTING OF ART AND ITS PUBLIC, 1893-1899 184 CHAPTER 4: MODERN ARTISTS: PAUPER, DILETTANTE, AND PRINCE 186 CHAPTER 5: MODERN ART FOR ELITE PUBLIC 238 CHAPTER 6: MODERISM: ACCEPTANCE AND RESISTANCE 267 EPILOGUE: JEW, EMPEROR, AND PARANOIA 312 NOTES 316 SELECTED BIBLIOGRAPHY 413 ACKNOWLEDGMENTS 433 INDEX 435 PHOTOGRAPHY CREDITS 447