The Collected Essays and Criticism, Volume 2: Arrogant Purpose, 1945-1949

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University of Chicago Press, Feb 15, 1988 - Art - 353 pages
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Clement Greenberg (1909–1994), champion of abstract expressionism and modernism—of Pollock, Miró, and Matisse—has been esteemed by many as the greatest art critic of the second half of the twentieth century, and possibly the greatest art critic of all time. On radio and in print, Greenberg was the voice of "the new American painting," and a central figure in the postwar cultural history of the United States.

Greenberg first established his reputation writing for the Partisan Review, which he joined as an editor in 1940. He became art critic for the Nation in 1942, and was associate editor of Commentary from 1945 until 1957. His seminal essay, "Avant-Garde and Kitsch" set the terms for the ongoing debate about the relationship of modern high art to popular culture. Though many of his ideas have been challenged, Greenberg has influenced generations of critics, historians, and artists, and he remains influential to this day.
  

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Review: The Collected Essays and Criticism, Volume 1: Perceptions and Judgments, 1939-1944

User Review  - Barry - Goodreads

For my response to Greenberg, see http://www.thenation.com/doc/20061016/schwabsky Read full review

Contents

1945
3
Review of All Embarrasted
10
Review of an Exhibition of Hans Hofmann and
18
Review of An Essay on Man
26
14 Review of the Exhibition A Problem for Ctitics
28
Review of The Last Floweting of the Middle Ages by Joseph van der Elst
30
Review of Painting and Painters by Lionello Ventuti
34
Review of Marc Chagall by Lionello Ventuti
35
Review of Exhibitions of the Pyramid Gtoup and Alfred Maurer
189
The Situation at the Moment
192
Review of an Exhibition of Katl Knaths and of the Whirney Annual
196
Review of Mona Lisas MustachebyT H RobsjohnGibbings
199
Review of Exhibitions of Worden Day Catl Holty and Jackson Pollock
200
Review of Matiste A Social Ctitique by Alexander Romm
203
Lerrer to the Editor of The Nation
204
Review of Exhibitions of Alberto Giacomerti and Kurt Schwitrets
205

Review of the Baller Dim Luster by Anthony Tudor
36
Review of Exhibitions of De la Fresnaye and Stuart Davis 20
39
Review of the Second PepsiCola Annual
42
Review of the Exhibition Landscape of Two Exhibitions of Kathe Kollwit2 and of the Oil Painting Section of the Whirney Annual
44
Review of Ce2annes Composition by Eatle Loran
46
The Storage of Art ftom Germany at the National Gallety Washington
50
Review of Exhibitions of Hyman Bloom David Smith and Robert Mothetwell
51
Review of an Exhibition of David Hare
55
Review of the WaretColot Drawing and Sculpture Sections of the Whirney Annual
57
Review of an Exhibition of Edward Weston
60
Lerrer to the Editor of The Nation
64
Lerrer to the Editor of The Nation
67
Review of Les Sandales dEmpedocle by ClaudeEdmonde Magny
68
Review of Exhibitions of the Ametican Abstract Artists Jacques Lipchit2 and Jackson Pollock
72
Art edired by Robert Gold warer and Marco Treves
75
Review of Exhibitions of Paul Gauguin and Atshile Gorky
76
Review of Exhibitions of Max Beckmann and Robert De Nito
80
Review of an Exhibition of Marc Chagall
81
Review of an Exhibition of Georgia OKeeffe
85
Review of an Exhibition of School of Patis Painrets
87
Jean Dubuffer and French Exisrentialism
91
Henti Rousseau and Modern Art
93
Review of Proast and Painting by Mautice Chernowit2
95
Review of Out of This Century by Peggy Guggenheim
97
Inttoduction to The Great Wall of China by Fran2 Kafka
99
Review of Thieves in the Night by Arthur Koestler
104
Review of The Drawings of Leonardo da Vinci inttoduced by A E Popham
108
Review of the PepsiCola Annual the Exhibition Fourteen Ameticans and the Exhibition Advancing Amertcan Art
112
Review of Years of Wrath by David Low
115
Review of the Whirney Annual
117
Review of an Exhibition of Pietre Bonnard and an Obituaty of Arnold Ftiedman
119
Review of Exhibitions of Jean Dubuffer and Jackson Pollock
122
Review of Exhibitions of Gaston Lachaise and Henty Moore
125
Review of Exhibitions of the Jane Streer Gtoup
131
Review of The Grass Roots
146
The Present Ptospects of Ametican Painting
160
Review of an Exhibition of Ben Shahn and of
173
Review of Exhibitions of Hedda Srerne and Adolph Gortlieb
187
Review of Exhibitions of Henti Matisse Eugene Boudin John Pipet and Misha Re2nikoff
209
The Decline of Cubism
211
Review of an Exhibition of Mordecai Ardon Btonstcin and a Discussion of the Reaction in Ametica to Abstract Art
216
Review of an Exhibition of Atshile Gorky
218
The Ctisis of the Easel Picture 2 21
221
Review of a Joint Exhibition of Antoine Pevsner and Naum Gabo
225
Review of an Exhibition of Willem de Kooning
228
Itrelevance vetsus Itresponsibility
230
Review of The History of Impressionism by John Rewald
235
Review of Thtee Porrfolios of Illustrations
236
Review of Exhibitions of Yasuo Kuniyoshi and Arnold Ftiedman
238
Review of Exhibitions of Le Corbusier and Robert Mothetwell
240
Reply to George L K Mortis
242
Review of an Exhibition of Pietre Bonnard
246
The Necessity of the Old Masrets
248
Review of Reflections of the Wocld Today by Paul Valety
252
Review of a Special Issue of Verve on Picasso
258
Review of the Exhibition Collage
259
Review of Aestheiics and History in the Visual Arts by Bernard Berenson
263
o 1 Review of the Whirney Annual
265
Review of an Exhibition of John Matin
268
The Role of Nature in Modern Painting
271
Review of an Exhibition of Gusrave Courber
275
Review of Exhibitions of Thomas Cole and Robert Delaunay
279
Review of an Exhibition of Jean Arp
282
Review of Exhibitions of Adolph Gortlieb Jackson Pollock and Josef Albets
285
The Srare of Ametican Art
287
Jean DubufFer and Art Btut
289
Review of an Exhibition of Henti Matisse
292
Review of Exhibitions of Isamu Noguchi and Ametican Paintings ftom the Collection of the Museum of Modern Art
294
Review of an Exhibition of Picasso
297
Review of Exhibitions of Ben Nicholson and Larty Rivets
299
ii4 Review of an Exhibition of Edgar Degas
301
Review of an Exhibition of George Bellows
309
The New York Marker for Ametican Art
319
12r Our Petiod Style
325
Chtonology to 1949
331
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About the author (1988)

Clement Greenberg (1909–1994), champion of abstract expressionism and modernism—of Pollock, Miró, and Matisse—has been esteemed by many as the greatest art critic of the second half of the twentieth century, and possibly the greatest art critic of all time. On radio and in print, Greenberg was the voice of "the new American painting," and a central figure in the postwar cultural history of the United States. Greenberg first established his reputation writing for the Partisan Review, which he joined as an editor in 1940. He became art critic for The Nation in 1942, and was associate editor of Commentary from 1945 until 1957. His seminal essay, "Avant-Garde and Kitsch" set the terms for the ongoing debate about the relationship of modern high art to popular culture. Though many of his ideas have been challenged, Greenberg has influenced generations of critics, historians, and artists, and he remains influential to this day.

John O'Brian is professor of art history at the University of British Colombia.

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