| Description |
256 pages : illustrations (chiefly color) ; 27 cm |
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text rdacontent |
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still image rdacontent |
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unmediated rdamedia |
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volume rdacarrier |
| Bibliography |
Includes bibliographical references (pages 244-247) and index. |
| Contents |
Introduction : Painting and experience in the twentieth century (Henri Matisse, The dance, 1909-10) : Modernism as liberty -- Peopling the void: episodes from an alternative history -- 1. After Cubism: reinventing the language of representation (Pablo Picasso, Seated man, 1914, and Fernand Léger, The campers, 1954) : Chagall's Half past three (The poet) (1911) -- Matisse's View of Notre Dame (1914) -- Léger, Rousseau and the 'return to "great subjects'" (1918-54) -- Classicism after Futurism: Carrŕ and Sironi (1921-22) -- Towards the Chagall of Dead souls (1920-25) -- Muralism part 1: Rivera's return to Mexico (1921-24) -- Muralism part 2: Benode Behari Mukherjee's The lives of the medieval Indian saints (1946-47) -- Marsden Hartley's 'Late courage' (1938-40) -- Francis Bacon's Three studies for a crucifixion (1962) -- Paula Rego: The barn (1994) -- 2. After Expressionism: 'The New Thingness' (Emil Nolde, Excited people, 1913, and Max Beckmann, The night, 1918-1919) : Not the how but the what: Otto Dix and the Neue Sachlichkeit generation (1917-32) -- 'A new sort of realism': the war and its aftermath in English painting: Stanley Spencer, Paul Nash, William Roberts, Edward Burra (1914-37) -- Early Balthus: a puppet master (1933-56) -- Edward Hopper's Nighthawks (1942) -- The libertarian line: Alice Neel and the modern portrait (1933-80) -- Lucian Freud's Interior at Paddington (1951) -- 3. First-person painting (Edouard Vuillard, Married life, 1900, and Pierre Bonnard, Dining room in the country, 1913) : Paula Modersohn-Becker: not 'that's me' but 'this is' (1900-7) -- Kirchner's 'hieroglyphic' street scenes (1913-14) -- Pierre Bonnard: a new space for the self (1924-46) -- Soutine and instability (1919-22) -- Frida Kahlo: What the water gave me (1934-38) -- Stanley Spencer: the sacred self and the Church of me (1937-59) -- Charlotte Salomon's Life? Or theatre? (1940-42) -- Max Beckmann: epics of self-art in Amsterdam (1937-46) -- Edvard Munch: Between clock and bed (1940-43) -- 4. Beyond the formalist canon: visionaries, dreamers, outsiders (James Ensor, Tribulations of St. Anthony, 1887, and Ken Kiff, Talking with a psychoanalyst, 1973-1979) : Alfred Kubin's Other side (1900-1930) -- Image against the word: Rabindranath Tagore as a painter (1928-40) -- Jack Yeats: towards 'The half-dreaming state' (1932-55) -- Henry Darger and The realms of the unreal (1937-73) -- Jacob Lawrence: The migration of the Negro (1940-41) -- Ken Kiff and The sequence (1971-90) -- 5. After Abstract Expressionism: towards a new history painting (Willem de Kooning, Woman I, 1950-52, and Philip Guston, Painting, smoking, eating, 1973 : R. B. Kitaj: avatar of Ezra (1960-76) -- David Hockney's The second marriage (1963) -- Alex Katz: the early cut-outs and their milieu (1959-62) -- Red Grooms and the sculpto-pictorama (1962-76) -- Georg Baselitz: Big night down the drain (1962-63) -- Philip Guston's renewal-by-drawing (1965-67) -- 'To bring back the lost reality of the world': Bhupen Khakhar and Indian experience (1975-87) -- Anselm Kiefer: Operation sea lion (1975-84) -- Ida Applebroog's Polyptychs (1986-89) -- William Kentridge's Felix narratives (1989-2003) -- Neo Rauch and Leipzig figuration (1999-2005) -- Leon Golub's final paintings (1999-2002) -- Epilogue : Continuous narratives (Howard Hodgkin, Two portraits of Terence McInerney, 1981) |
| Summary |
Timothy Hyman argues that figuration never went away; abstraction was just one of the ways by which artists renewed pictorial language. This book is structured not as a general survey, but as an in-depth exploration of over 130 specific paintings, and accompanying artists' writings. Focusing on those painters who took a contrary path, he presents a case for these artists as a resistance of sorts. Starting with the oppressive stylistic imperative that set in as Cubism became a movement, he guides us through the Neue Sachlichkeit response to Expressionism, Intimism, 'outsiders' and the aftermath of Abstract Expressionism, towards a new kind of history painting. He shows how abstraction becomes a midwife to a new kind of figuration. A celebration of the richness of human-centred painting over the last century, Timothy Hyman's lavishly illustrated new book brings these often-marginalized artists centre stage. Together they offer a counter-argument to Western formalism, and a foundation for the figurative painters of the 21st century. |
| Subject |
Figurative painting -- 20th century.
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Painting, Modern -- 20th century.
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Painting, Modern. (OCoLC)fst01050988
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Figurative painting. (OCoLC)fst00924056
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| Chronological Term |
1900-1999
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| ISBN |
9780500239452 |
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0500239452 |
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