Art in France 1900 1940 The Yale University Press Pelican History of Art Series 1st Edition by Christopher Green ISBN 978-0300084016 ‎ 0300084013

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ISBN 10:    ‎ 0300084013

ISBN 13: 978-0300084016

Author:  Christopher Green

Art in France developed in ways that were of paramount importance to twentieth-century art during the four decades between the Exposition Universelle of 1900 and the invasion of France in 1940. This enormously innovative and informative study of those developments breaks new ground by setting them within the frameworks both of their unstable social, political, and intellectual world and of the official and “independent” institutions of art.

Christopher Green moves from the great Paris Exhibitions of 1900, 1925, and 1937 as representations of France and a critical examination of modern movements―Fauvism,Cubism, Surrealism―to the questions raised by artists’ relationships with the state, the critics, and the rapidly expanding dealer system, as well as the problems met by foreign and women artists making careers in France. In this context, he is able to develop a new analysis of innovation within the practices of artists ranging from Matisse to Picasso and from Duchamp to Dalí, one that pays attention to the reactionary as well as the radical. Major themes are tackled in fresh interpretations of the work produced within these unprecedented developments: modernity, in relation both to technological progress and to gender and social class; tradition and the idea of the nation around the twin traumas of the Great War and the rise of Fascism; and the assault against the ideals of both modernity and civilization launched by artists committed to “the primitive” and to the new, challenging notions of identity and sexuality derived from psychoanalysis.

The book can be a starting point for newcomers to this important field and at the same time opens the subject up in new ways that will engage the more expert reader too.

Table of contents: 

PART ONE: ART MADE HISTORY
Introduction

1. Monuments to the Third Republic: The Great Exhibitions of 1900, 1925 and 1937

• Before and After 1900

• Before and After 1925

• Before and After 1937

• Art in France, 1900–40: French and Transatlantic Perspectives

2. Modern Movements in France, 1900–40

• Making Fauvism

• Making Cubism

• Making Chest

• Making Surrealism

• Modern Movements and ‘Abstract Art’, 1912–40

• Avant-gardes, Dominant Values and Histories

PART TWO: LIVES IN ART
Introduction
3. Framing Lives

• Democracy, Diversity and Direction: Officials and Institutions

• Different Artists, Different Markets

• Fixing and Unfixing Categories: Painters, Sculptors and Others

• Poets and Professionals: Writing on Art

• Winning for Modernism: The Dealers and Collectors

4. Celebrated Lives

• The Conditions of Success

• Crossing Boundaries: Foreign Artists in France, 1900–40

• Crossing Boundaries: Women Artists in France, 1900–40

• Being a Modern Master: Matisse and Picasso, Brancusi, Mondrian, Giacometti and Others

• Being Marcel Duchamp: A Singular Double Life

PART THREE: MAKING ART
Introduction
5. Representing Nature; Seeing Art

• Expression and Decoration: From ‘Art Nouveau’ Bing to Matisse

• Likeness and Deformation, Analysis and Synthesis: From Matisse into Cubism

• ‘Pure Painting’ and the Tableau-objet: Cubists, Orphists and Matisse as Cubist

• The Idea in the Work: Kupka and Mondrian

• Art and ‘Evolution’

6. The Languages and Objects of Art

• Metamorphosis and the Semiotics of Cubism

• Metaphor and Metamorphosis: Surrealists and Cubists

• Allegory and Myth: From De Chirico to Guernica

• Words and Things: From Duchamp’s Large Glass to the ‘Surrealist Object’

• Art and ‘Revolution’

PART FOUR: REPRESENTING MODERNITY
Introduction
7. The Experience of Modernity and the ‘New Spirit’

• Representing Modern Ideas: Abstraction, Science and Bergsonism

• Representing Modern Experience: Photography and Painting, Futurists and Simultanists

• Representing War and Peace: Léger and the Purist ‘New Spirit’, 1913–28

• The Palais de la Découverte: Representing Science and Technology at the Exhibition of 1937

8. Modern Spaces; Modern Objects; Modern People

• Domestic Modernity: From the Maison Cubiste to the Pavillon de l’Esprit Nouveau; from Collage to Léger’s Manufactured Objects

• Modernity and Gender: Working Women and Independent Women; Wives and Mothers

• Representing Modern Society: Class, Political Engagement and the ‘Realism’ Debate in the 1930s: Worlds of Work and Leisure

PART FIVE: HISTORY AND THE NATION
Introduction
9. Modernism and the Nation, 1900–18

• ‘One must become classical again by way of nature’: From Denis and Maillol to Matisse

• The Challenge of Tradition: The Presence of the Past in the Work of the Cubists and of Derain, 1907–14

• Being Modern and Traditional in Wartime, 1914–18

10. From Peace to Crisis: Traditions in Conflict, 1918–40

• France, Foreigners and ‘the Art of the Occident’

• The Unity in Diversity of France: The ‘Call to Order’ in Paris and the Regions, 1918–30

• ‘Greater France’ at the 1931 Colonial Exhibition; Matisse and Orientalism

• The Cult of the Past, the ‘École Française’ and the ‘Métèques’: Humanism and Xenophobia, 1924–40

• From Modern Master to Refugee: Chagall, 1938–41

PART SIX: RESISTING MODERNITY; RESISTING CIVILISATION
Introduction
11. Primitivising the Modern, 1900–18

• The ‘Naïve’, the ‘Sincere’ and the ‘Savage’: From Rousseau in the ‘Cage des Fauves’ to the Demoiselles d’Avignon

• Being ‘Primitive’ in Early Twentieth-Century Paris: Henri Rousseau, ‘le Douanier’; Constantin Brancusi, “This Peasant from the Danube”

• Against Modernity, Against Logic: ‘Primitive Mentality’ and Bergsonian Intuition

12. Counter-Cultural Art, 1918–40

• Change and Contradiction; The Provocations of Brancusi, Duchamp and Picabia

• Releasing Images: Surrealist Strategies of Liberation

• The World as Myth: Psychoanalysis and Other Surrealist Preoccupations

• De-civilising Culture: From Magic to Bassesse

• The Visual Art of Opposition: Picasso and Guernica, Surrealism and Politics, Collage and War

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Tags: Christopher Green, Art in France, The Yale University, History of Art