000806159 000__ 05709cam\a2200361\i\4500
000806159 001__ 806159
000806159 005__ 20210515140704.0
000806159 008__ 160912t20162016nyua\\\\\b\\\\001\0\eng\c
000806159 010__ $$a  2015959507
000806159 019__ $$a940361592$$a943645663$$a967343649
000806159 020__ $$a9780500239452$$q(hardcover)
000806159 020__ $$a0500239452$$q(hardcover)
000806159 035__ $$a(OCoLC)ocn958378003
000806159 035__ $$a806159
000806159 040__ $$aERASA$$beng$$erda$$cERASA$$dOCLCQ$$dYDX$$dOCLCO$$dNDD$$dCHVBK$$dUAB$$dOCLCF$$dNYP$$dNKM$$dOCL$$dCDN$$dVP@$$dJTH$$dNGA$$dYDXCP$$dBTCTA$$dBDX$$dUIU$$dNZTPM$$dOCLCO$$dIGA$$dUKWOH$$dOMB$$dUBY$$dOCLCA$$dPAU$$dDHA
000806159 042__ $$apcc
000806159 049__ $$aISEA
000806159 050_4 $$aND196.F5$$bH96 2016
000806159 08204 $$a709.04$$223
000806159 08204 $$a759.06
000806159 1001_ $$aHyman, Timothy,$$eauthor.
000806159 24514 $$aThe world new made :$$bfigurative painting in the twentieth century /$$cTimothy Hyman.
000806159 264_1 $$aNew York, New York :$$bThames & Hudson,$$c2016.
000806159 300__ $$a256 pages :$$billustrations ;$$c27 cm
000806159 336__ $$atext$$2rdacontent
000806159 336__ $$astill image$$2rdacontent
000806159 337__ $$aunmediated$$2rdamedia
000806159 338__ $$avolume$$2rdacarrier
000806159 504__ $$aIncludes bibliographical references (pages 244-247) and index.
000806159 5050_ $$aIntroduction : 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: Carrà 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)
000806159 520__ $$aTimothy 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.
000806159 650_0 $$aFigurative painting$$y20th century.
000806159 650_0 $$aPainting, Modern$$y20th century.
000806159 85200 $$bgen$$hND196.F5$$iH96$$i2016
000806159 909CO $$ooai:library.usi.edu:806159$$pGLOBAL_SET
000806159 980__ $$aBIB
000806159 980__ $$aBOOK