Achievement Standard 3.8A
Research and analyse text(s): 4 credits
Cam Mclennan
Achievement Standard 3.8A
Text 1:
Research aspects of the text and describe in depth and detail the concepts
Things from the text you can use: Quotes, ideas,
statements, opinions, facts, figures, information
Also write any words you didn’t understand in
here
You own explanation (in your own words) of
ideas, concepts, points your trying make,
explanation of quotes etc. Include your own
opinions, ideas and statements. Research and
write definitions of anything you didn’t
understand
“The world has changed less since the time of
Jesus Christ than it has in the last thirty years.”
This particular statement from Charles Peguy
alludes to the tremendous phase shift of art and
the how the modern day world was blanketed
with such capitalism that it is beyond the times
of Jesus Christ. Robert Hughes has begun his text
with this to induce the reader to understand just
how significant this time was to our history, not
just art wise but in all aspects.
The visual arts had a kind of social importance
they can no longer claim today, and they seemed
to be in a state of utter convulsion
Convulsion: Defined as violent turmoil, agitation
or disturbance. Perhaps he used this term
convulsion to explain just how abrupt and rapid
the movement was. How in such a short time
span (1880-1930) a whole world was in a state of
convulsion and at the epi-centre was the art. The
art had the power to represent and reflect the
social significance of individuals and the country
as a whole. Take for example the Eiffel Tower
and how it marked the capitalist views of an
entire nation and how they had become the
leaders in a rapidly changing world. The Eiffel
Tower in itself was a stylized building made to
render similarities to the human form. Creating a
sort of high scale proto-cubism design. In a way
that it is reduced to the most basic forms and
shapes and has a sort of abstract aspect to it.
“And certainly no painting of a conventional sort
could deal with the new public experience of the
late nineteenth century, fast travel in a machine
on wheels……This created a sense of space which
few people had experienced before – the
succession and superimposition of views, the
unfolding of landscape in flickering surfaces as
This quote epitomises the need for artists like
Braque and Picasso to paint ‘unconventional’ art,
art that showed all the different perspectives as
if one was swiftly passing by in a new ‘machine
on wheels’. This advancement in the
technological world required art to reflect and
mirror this advance and create images that were
one swiftly carried past.”
peculiar and more profound to any images seen
before. Introducing what would be known as
proto-cubism.
“If asked to, the brain can isolate a given few,
frozen in time; but its experience of the world
outside the eye is more like a mosaic than a
perspective setup, a mosaic of multiple
relationships, none of them wholly fixed.”
Depicts that the brain can isolate what the eye
sees and create a mixed perspective view. In
doing so it is showing that each image has a
relationship to another and through these
relationships a new perspective is shown in a
twisted and contorted mosaic like image. This is
what the Early stages of Cubism aimed to do,
Braque in Houses of L’Estaque aimed to create a
mosaic like image and ignoring all early
conventions of art and in doing so created a
more profound and alternative painting. Forcing
the brain to isolate the image and view it in all
the different perspectives.
“Picasso’s impetuous anxiety and astonishing
power to realize sensation on canvas, married off
Braque’s sense of order, mesure, and visual
prosperiety. Some ideas are too fundamental,
and contain too great a cultural loading, to be
the invention of one man. So it was Cubism.”
With the differences of Braque and Picasso
combined and married off Cubism became what
it is today. For the ultimate cultural importance
and the visual concepts could not be the
invention of one man, together their differences
created the profound concepts visible in the
paintings of ‘Grand Nu’ and Picasso’s ‘the
factory’.
‘’No painting ever looked more convulsive.”
Again the word convulsive is used in reference to
one of Picasso’s paintings that birthed the Protocubist period. This one word convulsive sums up
the time. It was an abrupt and violent
disturbance to the art world and its early
conventions.
Shock Of the New- Robert Hughes
The Shock of the New was originally a 1980 BBC Documentary written and produced by Robert
Hughes. Robert Hughes was a famed Australian art critic and set about constructing a documentary
that introduced the development of modern art and the details of the distorted images explaining to
the general public what can be seen ‘beyond’ the first glance. This was later converted into a book.
The ‘Shock of the New’ was specifically created in order to alert the unknowing general public of
how modern day art is a reflection and development of work done by Avante Garde’s such as
Cezanne, or co-founders of cubism Picasso and Braque. This is because modern day art was often
only truly understood by the inner circles of the Art World. The ‘Shock of the New’ set out to expand
this ‘inner circle’ and inform and amuse the circle on how modern day art came to be. Robert
Hughes begins with the chapter ‘Mechanical Paradise’. The opening line reads that in 1913 a French
writer remarked “the world has changed less since the time of Jesus Christ than in the last thirty
years.” He is implying that the world in 1913 has so vastly evolved through the developments in
mechanics, physics, beliefs, but to a more relevant and intense degree in its art. Art is a mirror of its
time and the world of 1913 had become so revolutionary that if the work produced during this era
was done thirty years earlier it would be a travesty. Due to such a Western Capitalist Society the way
of the world was to develop and explore for new ideas and in new fields. Technology was advancing
and with it the art world followed. This is what ‘Mechanical Paradise’ intends to do, it intends to
alert the reader of how art was influenced and changed by this new revolutionary society. In
particular we take a look at the work of Picasso and Braque and how they were like ‘two
mountaineers roped together’ in their pursuit to manipulate and extort a view of multiple
perspectives through the use of the simplest forms of objects in doing so throwing away all the
conventions of early art.
“The visual arts had a kind of social importance they can no longer claim today, and they seemed to
be in a state of utter convulsion.” The word convulsion is transcribed as basically a violent turmoil,
disturbance or agitation. Through this one word we are alluded to a time in which the whole world is
in a state of convulsion. The beliefs, physics, and mechanics were changing and with it came the
revolutionists and Avante Garde’s Pablo Picasso and George Braque who initialised a movement
unlike any other before. They were at the epi-centre of a changing world and together these two
‘roped together like mountaineers’ began to work off each other and use inspiration from Cezanne
and so on to create and manipulate paintings into defying all the conventions of art at the time.
Hughes is quoted as saying “Picasso’s impetuous anxiety and astonishing power to realize sensation
on a canvas, married off to Braque’s sense of order, mesure, and visual propriety. Some ideas are
too fundamental, and contain too great a cultural loading, to be the invention of one man. So it was
Cubism.” In this passage he alerts the reader on the remarkable abilities of both Picasso and Braque
and how not simply one man could make such a large cultural impact that would last beyond the
century and further. Therefore it took two different individuals to create and narrate a societal
masterpiece that engulfed all viewers to read what is beyond the basic forms displayed on the
canvases. It was however through the advancement of the material world that this art truly came to
be. It was about this time when the auto mobile was invented and Hughes introduces its appearance
into the art world as “peculiar and clumsy”. This is because it was represented by a stone carving
which conveyed no meaning into the true feeling of succession of views when swiftly travelling, nor
did it allude to the flickering and layering of the views and how the blur and mix of colours would
isolate itself in the eye. Therefore it was rather clumsy in the way that it could not represent this.
This would take a more radical and unconventional art to truly manipulate perspective and create an
effect of multiple perspectives layered into one synthesised view. This was proto-cubism as Hughes
described it.
“And certainly no painting of a conventional sort could deal with the new public experience of the
late nineteenth century.” With the developing cultural and technological world conventional art was
not a mirror of the time and as we know “every age gets the art it deserves, and every age must
accept the art it gets.” As a result Cubism was the only form of representation that truly
characterised and illustrated the time. The brush strokes had a harshness to them, nor were they
trying to gratify the eye, instead they referred away from the quality and more about the forms and
the meanings they conveyed. This infers to the way “the brain can isolate a given few, frozen in time;
but its experience of the world outside the eye is more like a mosaic than a perspective setup, a
mosaic of multiple relationships, none of them wholly fixed.” This quote from Hughes depicts this
multi perspective view that Picasso and Braque created. In which a ‘mosaic’ of perspectives was
created drawing attention to the multiple different forms, allowing the brain to decipher
relationships in doing so focusing more on the ideas themselves. This is exactly what George Braque
has done in ‘Houses of L’estaque’ in which the painting has no windows or façade structure and they
are reduced to the most simple and basic forms in order to create this sense of abstraction.
Noticeably the painting also has very reduced lines in places that create this link with the eye to
connect and make relationships. The pallet of the painting is also a dark brown and yellow signifying
the inspiration Cezanne provided Braque as he has used the same pallet that Cezanne was known to
utilise. It was this very painting that gave the movement the name ‘Cubism’ as Louis Vauxcelles
joked that it was as if he had divided the painting up into cubes. But above all this painting went
against the early conventions of the one point perspective view and created this ‘mosiac’ of multiple
perspectives, in doing so a more abstract painting was produced that represented the developing
times. One might say the painting is ‘convulsive’, like the way that Hughes referred to Les
Demoiselles d’Avignon. Convulsive in the way that it was the first true ‘Proto-Cubist’ stylized painting
that displayed a landscape scene, something that would not have been thought of if not for
Cezanne. It was revolutionary for the way that it displayed this abstract way of representing the
world, and how it was as if passing by in an automobile with the flickering and layering of views and
the mix and blur of the colours.
The Shock of the New by Robert Hughes expanded the ‘inner circle’ of the art world by reaching out
to the general public and contextually enveloping them to understand and be inspired by the
‘mountaineers’ Picasso and Braque. In doing so the public reached an understanding on the protocubist era and how it came to be through the abrupt and vast changes happening in the
technological and mechanical worlds, such as the automobile and the Eiffel Tower. Therefore the
public could reach conclusions on the modern day art and how it was profoundly influenced by the
work of Avante-Garde’s Cezanne, Picasso, and George Braque. In particular they can decipher the
changing cultural and technological world of the time and see how it had an effect on the art,
making the need for it to be so unconventional and discard all previous ‘rules’, like the one point
perspective and the birth of abstraction. This is shown specifically in the chapter ‘Mechanical
Paradise’ which informs and amuses the readers/viewers of the influence the convulsive Western
Capitalist Society had on art and how modern day art came to be through this society. As Picasso
and Braque acted as the gate breakers to the freedom that post-modernism art provides today. The
ability to be able to express your paintings in a more conceptual way than visual is a direct
repercussion of Picasso and Braque’s attempts to break the shackles of the academic art. Much like
Cezanne’s legacy impacted the way that the cubists worked, and in doing so set out the stones for
Picasso and Braque to follow on their own journey to create art as a metaphor for larger ideas. We
can see this in art today through such artists as Yulia Brodskaya who bases her art solely on paper
illustrations and the illusions they create. Something that Picasso birthed through his utilisation of
collage in his quest to create such valued freedom. Therefore I think Hughes has been successful in
the way that he has manipulated the context of Shock of the New to connote the impact and effect
Picasso and Braque’s work has had on our very own art today.
Bibliography:
-
-
Hughes, Robert ‘Shock of the New’, Published by: BBC 1980 and again in 1991 by Thames
and Hudson
http://books.google.co.nz/books?id=jfeOAQAAQBAJ&pg=PA87&lpg=PA87&dq=%22every+ag
e+gets+the+art+it+deserves%22&source=bl&ots=FyCaPINgtY&sig=E7zrAbqTu77DOZZIPWvUf
5RwxrQ&hl=en&sa=X&ei=clcnU6m3A4GglAX324HgAw&ved=0CCgQ6AEwAA#v=onepage&q=
%22every%20age%20gets%20the%20art%20it%20deserves%22&f=false 17/03 – T.S Elliot
Gantefuhrer, Trie. ‘Cubism’, Published by: Taschen, 2006
http://www.youtube.com/watch?v=8C4jcm-WYvg 20/03
http://www.youtube.com/watch?v=HmHLIVsx658 21/03
http://www.goodreads.com/book/show/542639.The_Shock_of_the_New 22/03 (provided
good intel into how the general public felt about ‘The Shock of the New’ and its impact.)
Clark, Mr Glen
Text 2:
Research aspects of the text and describe in depth and detail the concepts
Things from the text you can use: Quotes, ideas,
statements, opinions, facts, figures, information.
Also write any words you didn’t understand in
here
You own explanation (in your own words) of
ideas, concepts, points your trying make,
explanation of quotes etc. Include your own
opinions, ideas and statements. Research and
write definitions of anything you didn’t
understand
“The Cubist movement was a revolution in the
visual arts so sweeping that the means by which
the images could be formalized in a painting
changed more during the years from 1907 to
1914 than they had since the Renaissance.”
Depicts the cubist movement as a revolution
more defying and intense than the times of
Leonardo, Raphael and Michel Angelo. In the
sense that the paintings now connoted a more
conceptual rather than visual story, going from
“What is that” to “What message does that
convey.” Bringing a more theoretical and
symbolic element to the paintings themselves
allowing them to truly express the combustion of
changes happening in the developing world
around them.
“Cubist art was conceptual, not only perceptual,
they proclaimed; that is, it drew upon memory
as well as upon objects actually viewed by the
eyes.”
Indicating to the ill-informed on how Cubism was
a gateway to wider thought processes enabling
the mind to reflect and examine a painting
drawing on memories and objects that rendered
a familiarity with the forms in the paintings. In
doing so Cubism was conceptual, not just
perceptual unlike the art of academic times.
“The leaders of the movement, Picasso and
Braque, were almost the only artists who did not
attempt at the time to explain the movement.”
This alludes to the idea that the ‘cubists’ had
developed formalities in the way that they
gathered and discussed cubism in a way that was
knowledgeable to each other. Suddenly cubism
was reaching this theoretical standpoint where
poets, writers and philosophers were becoming
involved in the movement despite their lack of
finesse and artistic ability. For them they saw it
as a way to express emotions and meanings
through a canvas that engulfed viewers to
question and decipher certain meanings.
However it was Picasso and Braque, the leaders
who did not worry about these formalities and
instead took about an approach were they
expressed themselves through a piece, their
passion, their inspiration, their thought
processes, that to an untrained eye the
inspiration of the piece would become relatively
unknown. Leading their cubist followers and
counterparts to follow their pieces and be
inspired by them. To the point where they would
then discuss with other knowledgeable cubists
and concentrate on the hidden meanings behind
the paintings.
“Henceforth, painting was becoming a science
and quite an austere one.”
Austere:
Austere is basically defined as being severely
rigorous and strict, severe in both manner and
appearance. This word links to the idea that
although cubism seemed to have no rules in the
way it clearly disobeyed all early conventions of
earlier academic style art, it did have one rule
that was strictly followed. This was that the art
would create insight into background and into
more profound meanings than just what is
displayed on the canvas. In this way it had
become a science. That no more could an
untrained un-astute eye understand the
meanings conveyed on a painting. It would take
more knowledge, more insight, more conceptual
adaption to truly understand and realise the
meanings conveyed in the paintings. This was
cubism. A science, one that enabled the art
world to take on a more influential role in
society.
“Let the picture imitate nothing; let it nakedly
present its motive.”
Naked in the way that the forms are not
detailed, nor edited and blended. They are the
reflection of the painting itself; raw. And in this
way the painting can present its motif and the
connotations the artist is conveying easier. There
is no illusion to reality instead it is just what it is,
a painting. Because of this people can see easier
the forms and their mosaic like shapes,
indicating this multi-layered image to be able to
tell the audience its true meaning.
“We know well…….that the sight, by rapid
This quote clearly indicates the mosaic of
observations, discovers in one point an infinity of
forms: nevertheless it comprehends only one
thing at a time.” – Leonardo Da Vinci
perspectives that the eye sees when looking at
an object, but the brain can only decipher and
visualise the one concept at a time. Therefore
the Cubist period set out to display the multiple
perspectives the eye can see, as if flickering past
at a swift pace and visualising an object then
placing it on a canvas. Therefore adding a whole
new element to the painting world and
expanding the comprehension of the mind to
understand what they are seeing and visualising.
Theories Of Modern Art- Herschell B(rowning) Chipp
‘Theories of Modern Art’ is a source book by artists and critics by Herschell B. Chipp published in
1968 and then republished in 1984 intending to inform the learning and studying academic public of
the way artists think and work. The book is designed for the more informed art public in contrast to
Robert Hughes’ ‘Shock of the New’ and its more general public approach. It aims to provide a
perspective of the modern era and of the artists themselves, with a continual use of referencing
stories dating from the time. Herschell B. Chipp is an art historian, a professor of art, a president
award winning US naval lieutenant, and on top of this he is a cubist scholar from the University of
California. Throughout this source booklet Chipp releases his vast abilities to provide valuable intel
into the way artists work with extensive utilisation of other texts, including letters, manifestos,
notes, and interviews, all of which stemming from the famed artists themselves, straight from the
horse’s mouth one might say. In doing so he has created a source that can be noted and studied for
years to come as it provides such insightful knowledge and inspirational intel into the life of artists
and how it has shaped the art that is produced today. In particular we look at the chapter ‘Cubism’
which begins with the quote “The Cubist movement was a revolution in the visual arts so sweeping
that the means by which the images could be formalized in a painting changed more during the
years from 1907 to 1914 than they had since the Renaissance.” This quote depicts the cubist
movement as a revolution more defying and intense than the times of Leonardo, Raphael and
Michel Angelo, in the sense that the paintings now connoted a more conceptual rather than visual
story, going from “What is that” to “What message does that convey.” Bringing a more theoretical
and symbolic element to the paintings themselves allowing them to truly express the combustion of
changes happening in the developing world around them, including the camera. With the invention
of the camera the art world was enabled to turn away from this illusion of reality and instead focus
on this more conceptual image. Thus attaching the reader from the very beginning of the chapter
and truly drawing their attention to the vast influence and affect that the cubism is to have on the
modern day art therefore informing them on the way of the early cubists. Particularly on the duo of
George Braque and Pablo Picasso and their influence on this ‘conceptual age’. In a sense this chapter
aims to induce the readers to understand the thought processes behind cubism and how its
simplified forms connote such profound and high level though processes and motifs. In doing so we
are alerted to the ways of the early cubists and their own explanations and theories behind the
cubist paintings.
“Cubist art was conceptual, not only perceptual, they proclaimed; that is, it drew upon memory as
well as upon objects actually viewed by the eyes.” This quote evaluates the time of the cubists as a
being a more ‘conceptual age’ in which no longer did art follow the set conventions and rules of the
academic age, nor did it infatuate itself with the finesse and delicacy of the early renaissance period
with artists like Michel Angelo and Leonardo. It focused on the underlying motif behind the basic
forms and shapes displayed on the canvas. And it was through this simplicity that the true meanings
were conveyed to the audience, creating a sense of displaying a web of multiple relationships and
stories engulfing the viewer to become asphyxiated on the multitude of perspectives laid out on the
canvas. Juxtaposed with the academic style and the renaissance period art which utilised a one point
perspective telling one main story and having a somewhat illusion of reality. It was because the
cubists decided to discard this illusion of reality that they truly were able to manipulate the eye into
making connections to larger ideas. Leonardo Da Vinci is quoted in the chapter ‘Cubism’ of Theories
of Modern Art as saying “We know well…….that the sight, by rapid observations, discovers in one
point an infinity of forms: nevertheless it comprehends only one thing at a time.” Indicating this
perception of depth and space that Leonardo created in his paintings, and the finesse and delicacy
that entailed with his master-pieces, however it revolved around this one point perspective, in
complete contrast to that of Cubism. It was however with such academic art that the base was made
for artists such as Paul Cezanne to manipulate objects back to such basic forms and as a result be
able to pictorially flatten the canvas and create a canvas that was equal in both foreground and
background in regards to depth. People such as George Braque and Pablo Picasso could then build
off this profound intellect showed by earlier artists and married with the development of the
cultural and technological world create art that truly represented the modern age. As Chipp put it
“Henceforth, painting was becoming a science and quite an austere one.” Austere is roughly defined
as being rigorous and strict in both manner and appearance. Cubism had become this “austere”
science in the way that it told a multitude of stories through the canvasing of but few forms. It was
strict in the way that it didn’t follow early conventions, and yet it did have one such guideline strictly
followed. This was to display a more profound motif through the manipulation of forms and
perspectives deriving them to induce the viewer to make his/her own connections in regards to the
multiple perspectives they are displayed. It was because of the developments made over centuries
that this short period of time (1900-1940) was enabled for cubists to knowledgeably discuss amongst
one another such theoretical and insightful terms.
“Let the picture imitate nothing; let it nakedly present its motive.” Chipp is quoted as referring to the
paintings as naked, naked in the way that the forms are not detailed or realistic, instead they are the
mere reflection of the painting itself; raw. And because of this they are able to connote and convey
their motifs so much easier, due to their being no illusion to reality instead it is what it is, simply a
painting. Because of this we are able to see these multi-layered forms and see the multiple
perpectives displayed and realise the true meanings behind the paintings. We don’t have to look
past the detailed façade’s and the blended colours nor the delicate brush strokes. Instead we are
given a painting basic in perception, but so vast conceptually, hence it was the ‘conceptual age’. We
can see this in George Braque’s Grand Nu which alludes to the display of a singular individual naked
in its form. Its form is flattened pictorially on the canvas, displaying this rather ambiguous style in
the way that the drapery mixes and becomes one with the background. It is a direct response to
Picasso’s Les Demoiselles d’Avignon in the way that it resembles one of the demoiselles, it also
shows the same distinct distortion and abstraction of features which in return connotes a sense of
adversity and of ill health. The painting ‘Grand Nu’ is an insight into the inner circle of the cubists
and how they would meet weekly to discuss and share their theories, ideas, and inspirations behind
their cubist works. Grand Nu was created from the inspiration of his fellow cubist co-founder
Picasso, and thus the same affect would take place on many other cubists as they together worked
off of each other and created their own cubist inspired artworks. The leaders of the revolutionary
movement were of course Picasso and Braque and Chipp alludes to them in this way “The leaders of
the movement, Picasso and Braque, were almost the only artists who did not attempt at the time to
explain the movement.” This alludes to the idea that the ‘cubists’ had developed formalities in the
way that they gathered and discussed cubism in a way that was knowledgeable to each other.
Suddenly cubism was reaching this theoretical standpoint where poets, writers and philosophers
were becoming involved in the movement despite their lack of finesse and artistic ability. For them
they saw it as a way to express emotions and meanings through a canvas that engulfed viewers to
question and decipher certain meanings. However it was Picasso and Braque, the leaders who did
not worry about these formalities and instead took about an approach were they expressed
themselves through a piece, their passion, their inspiration, their thought processes, that to an
untrained eye the inspiration of the piece would become relatively unknown. Leading their cubist
followers and counterparts to follow their pieces and be inspired by them. So much so that it was to
the extent where they would then conduct these weekly meetings with other knowledgeable cubists
and concentrate on the hidden meanings behind Braque and Picasso’s paintings. Resulting in the
Cubist period having such a vast effect on modern day art as it created such a conceptual and
theoretical standpoint that art had never seen before, providing such freedom for the art that would
come in the following years and the coming century.
In conclusion Herschell B. Chipp has provided us a source booklet in ‘Theories of Modern Art’ that
can be studied and analysed for centuries more as it provides such intellectual and valuable insight
to the avante-garde’s of art and the inner workings of the modern day art world. Creating an
academic source that truly depicts and emphasises the theoretical side of art and how it came to be
providing artists in our post-modernist time with such vast freedom and ability to display art in such
an alternate way. In particular his chapter on Cubism truly indicates the way that artists such as
Picasso, Braque, and Gris were influenced from the cultural and technological world developing and
the work of previous artists such as Paul Cezanne. As Picasso put it “a good artist copies, a great
artist steals’’ alluding to the idea of the cubists taking inspiration from all different sources ranging
from a variety of cultures and creating art that truly mirrored this revolutionary time. Art that had
not just one mere perspective but a multitude of perspectives that could isolate themselves in the
eye and convey and display more profound motifs and ideas. Or the way that each object could be
reduced to such basic forms creating such simplicity that implied a more conceptual basis rather
than perceptual. In this way I think the cubists were extremely successful. This is because the whole
intention of cubist art was to create debate, question, upheaval, tragedy, inspiration, discussion,
attention, but most of all freedom. The very making of the source ‘Theories of Modern Art’ is a
testament to the success of the cubists as it provides this informing analysis on the cubists and the
way their work induced such debate. To this day people still buy the source ‘Theories of Modern Art’
with the intentions to discover and gather intellect on the very questions that the cubist forced the
viewers to ask. Meaning the Cubists were and are still very influential to our modern day society and
to this day they have still created such debate and question. But it is with this debate and question
that the shackles of academic art was to be broken, and the one point perspective discarded with
the new modern day art able to flourish and artists being able to express their own freedom through
the paint on a canvas. It is the expression of freedom through the canvas that we are reminded of
Chipp’s contextual brilliance as he has been able to convey this message to us with the chapter
‘Cubism’ in Theories of Modern Art and his brilliance is summed up by the Liberty Journal. “A rich
feast of letters, manifestos, reviews, interviews, and other writings relating to the study of modern
art, carefully searched and methodically selected….. He wrote the book to fill a need often cited by
art historians and students-to put the study of modern art on a sounder ideological basis. This he
does…. Other collections of documents of art by modern artists have been printed, but this source
book has the advantages of objectivity and large scope…. Highly recommended for art collections
and also for its relevance to humanities in general.”
Bibliography:
-
Chipp B, Herschell ‘Theories of Modern Art’. Published: 1968, and again 1984
http://www.worldcat.org/title/theories-of-modern-art-a-source-book-by-artists-andcritics/oclc/1029913 24/03
http://www.dictionaryofarthistorians.org/chipph.htm 24/03
http://online.wsj.com/news/articles/SB10001424127887324576304579073122114541290
25/03
http://everypainterpaintshimself.com/blog/cubism_explained 25/03
http://drawsketch.about.com/od/publications/gr/modernart.htm 25/03
Reviews from the back of Theories of Modern Art.
Clark, Mr Glen.
Cam Mclennan