Primitivism, Cubism, Abstraction: The Early Twentieth Century
This volume presents a survey of art from the first two decades of the twentieth century. The authors begin by exploring how aspects of the primitive were invoked by the rural artists' colonies formed in France and Germany at the end of the nineteenth century and by the work of the Fauves and the German Expressionists a few years later. The book then develops an analysis of Cubist works based on semiotic theory, considering the social and cultural values encoded in such signifying systems, and investigating the relationship between representation and ideology. The final chapter considers some problems of interpretation and evolution posed by specific examples of abstract art ranging from Malevich to Mondrian.
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abstract art abstract painting ADAGP aesthetic artists associated autonomy avant-garde Bathers Black Square bourgeois Braque's Breton Briicke Centre Georges Pompidou century collage Collection colonial colour Composition concept contemporary context conventions critics Cubism culture DACS decorative Demoiselles depicted discourse Ernst Ludwig Kirchner example exhibition expression Expressionist Fauve Fauvism figure forms Frascina French Gallery Georges Braque German German Expressionism Greenberg idea ideological Kahnweiler Kandinsky Kazimir Malevich Kirchner label landscape language London Matisse Matisse's meaning metaphor metonymic Modern Art Modernist Musee Museum of Modern nature notion nude objects oil on canvas Pablo Picasso painters Paris and DACS particular Paul Gauguin peasant Photo Picasso and Braque pictorial Piet Mondrian Plate political pose primitive primitivism produced realism reference relations representation represented Salon seen semiotics sexual signifying social suggest Suprematism symbolic Symbolist synechdoche theme theory tradition tree Venus Anadyomene viewer visual Voloshinov woman women Worpswede