Research Catalog

Title

The world new made : figurative painting in the twentieth century / Timothy Hyman.

Author

Hyman, Timothy

Publication

New York, New York : Thames & Hudson, 2016.

Items in the Library & Off-site

Details

Description

256 pages : illustrations (chiefly color); 27 cm

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.

Alternative Title

Figurative painting in the twentieth century

Subject

• 1900-1999
• Figurative painting > 20th century
• Painting, Modern > 20th century

Bibliography (note)

• Includes bibliographical references (pages 244-247) and index.

Processing Action (note)

• committed to retain

Contents

• Introduction: Painting And Experience In The Twentieth Century: Henri Matisse; Modernism as Liberty; Peopling the Void: Episodes from an Alternative History -- 1. After Cubism: Reinventing the Language of Representation: Pablo Picasso, Fernand Leger; Chagall's Half Past Three (The Poet) (1911); Matisse's View of Notre Dame (1914); Leger, Rousseau and the 'Return to "Great Subjects'" (1918-54); Classicism after Futurism: Carra 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, Max Beckmann; 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; 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, Pierre Bonnard; 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, Ken Kiff; 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, Philip Guston; 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.

ISBN

• 9780500239452
• 0500239452

LCCN

^^2015959507

OCLC

• 958378003
• SCSB-12104946

Owning Institutions

Harvard Library