The Shock of the New: Art and the Century of Change
Format: PDF / Kindle (mobi) / ePub
An illustrated 100-year history of modern art, from cubism to pop and avant-guard. .
1915 suffering from fits of hallucination and unbearable depression – “This infinite space,” he wrote, “whose foreground has always got to be filled with some rubbish or other, so as to disguise its dreadful depths.… This sense of being abandoned forever, in eternity. This loneliness.” To relocate himself in the world and fight through his horror vacui, Beckmann – in some ways a far tougher artist than most of his German contemporaries – decided upon the unlikely course of becoming a
back to art a symbol that must have seemed lost forever in the nightmarish violence of World War I and the social unrest that followed. This was the Paradise-Garden, one of the central images of religious romanticism – the metaphor of Creation itself, with all species growing peaceably together under the eye of natural (or divine) order. Perhaps the principal modern artist to concern himself with healing images of idealized nature, however, was the Rumanian sculptor Constantin Brancusi
the person on the balcony has experienced: the sunbathed crowd on the street, the double row of houses that stretch to right and left, the beflowered balconies, etc. This implies the simultaneousness of the environment and, therefore, the dislocation and dismemberment of objects, the scattering and fusion of details, freed from accepted logic. That Futurism could not have realized itself without a Cubist vocabulary of “dislocation and dismemberment” is beyond doubt. Boccioni’s leaning houses
Radieuse, the “Radiant City.” No designer in the history of architecture has been more possessed by an idea than Corbusier was. His own tragedy was that this idea was not fulfilled. But one may be quite sure that Corbusier’s disappointment, grave as it was, could not have begun to compare with the misery and social dislocation the Radiant City would have inflicted on its inhabitants, had it ever been built. Corbusier’s Voisin Plan of 1925 was the most developed of his schemes for the
origins” of ancient Greek, Assyrian, and Egyptian architecture, with side-glances at the Taj Mahal, the Maison Carrée in Algiers, the mosques of Cairo, the White House, and the Amazon Jungle. Dark grottoes (which the Facteur called “Hecatombs,” meaning today “Catacombs”) ran through it, and wild bristlings of minarets and sculptured palms crowned its towers. Almost every surface that was not ornamented with the writhing effusions of the Facteur’s imagination carried an inscription: “INTERIOR OF