Photograph Credits

Clark, T. J.

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Photograph Credits

T. J. Clark

Farewell to an Idea: Episodes from a History of Modernism

Photograph Credits

Author

T. J. Clark

PublisherYale University Press

Stable URL: https://aaeportal.com/?id=-16589

Photograph Credits

Copyright A.C.L.-Brussels 63; AKG London 5, 143, 156; Archivi Alinari 17, 91; Studio Basset 43; Photograph by Cecil Beaton. Courtesy Vogue. Copyright © 1951 (renewed 1979) by the Condé Nast Publications, Inc. 177, 178; © Bildarchiv Preußischer Kulturbesitz, Foto: Jorg P. Anders 2; Photograph by Benjamin Blackwell, for the University of California Art Museum 234, 247, 248; The Bridgeman Art Library 164, 199; British Film Institute 251; Lenneke Büller 224; Photo Bulloz 9; Christies Images 233, 249; Document Archives Durand-Ruel 21, 30, 59, 70, 71; Giraudon 14; Patrick Goetelen 4; Photograph by David Heald © The Solomon R. Guggenheim Foundation, New York 98, 169, 176, 188, 189, 221; Walter Klein, Düsseldorf 198; Willem de Kooning Office 246; © Cliché Musées du Mans 19; Hans Namuth Ltd 192, 202, 210, 214, 216; National Gallery of Canada, Ottawa 211; © Photothèque des Musées de la Ville de Paris 11; Photograph © 1992 Douglas M. Parker 227; Pollock-Krasner House and Study Center 190, 196, 207, 208, 212, 215, 217, 220, 222, 228; Rheinisches Bildarchiv, Köln 105; © Photo RMN 8, 18, 27, 36, 39, 48, 85, 94, 103, 104, 107, 119; Jean Michel Routier 38; S.C.R. Photo Library 138; Sotheby’s Picture Library 49; Courtesy of Allan Stone Gallery, New York 230; Photo by Malcolm Varon, N.Y.C., © 1998 111, 114, 118, 239; © Dorothy Zeidman 82, 83.

© ADAGP, Paris and DACS, London 1998 34, 38, 39, 49, 50, 66, 68, 84, 117, 133, 170; © ARS, NY and DACS, London 1998 174, 175, 176, 180, 181, 182, 183, 185, 186, 187, 188, 189, 190, 197, 198, 201, 203, 205, 206, 207, 208, 209, 211, 212, 213, 215, 217, 218, 219, 220, 221, 222, 228, 238; © DACS 1998 3, 16, 134, 135, 136, 137, 138, 139, 141, 143, 146, 147, 148, 168, 171; © Estate of Hans Hoffman/VAGA, NY and DACS, London 1998 229, 234, 247, 248, 250; © Foundation Adolph Gottleib/VAGA, New York/DACS, London 1998 232, 235, 243, 244, 249; © Jasper Johns, VAGA, New York/DACS, London 1998 239, 240; © Succession H. Matisse/DACS 1998 48, 51, 236; © Succession Picasso/DACS 1998 4, 94, 95, 96, 97, 98, 99, 100, 101, 102, 103, 104, 105, 106, 107, 108, 110, 111, 112, 113, 114, 115, 116, 118, 121, 122, 123, 124, 125, 126, 127, 128, 129; © Willem De Kooning/ARS, NY and DACS, London 1998 230, 233, 245, 246.

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BOOKFarewell to an Idea: Episodes from a History of Modernism

T. J. Clark

https://doi.org/10.37862/aaeportal.00048

Stable URL: https://aaeportal.com/?id=-13740

In this intense, far-reaching, and poignant book—a book that sums up the work of a lifetime—the acclaimed art historian T. J. Clark rewrites the history of modern art. With the fall of the Berlin Wall, he explains, the project called socialism may have come to an end at roughly the same moment as modernism. Did modernism and socialism depend on each other for their vitality—for their sense of the future and their wish to live in a fully material world? Have they died? Aware of modernism’s foibles and blind spots, but passionately attached to the movement’s wildness, Clark poses these fundamental questions in Farewell to an Idea.

Modernism, Clark argues, was an extreme answer to an extreme condition—the one Max Weber summed up as “the disenchantment of the world.” Clark focuses on instances of maximum stress, when the movement revealed its true nature. The book begins with Jacques-Louis David, painting at the height of the Terror in 1793, then leaps forward to Pissarro a hundred years later, struggling to picture Two Young Peasant Women in a way that agreed with his anarchist politics. Next the author turns in succession to Cézanne’s paintings of the Grandes Baigneuses and their coincidence in time (and maybe intention) with Freud’s launching of psychoanalysis; to Picasso’s Cubism; and to avant-garde art after the Russian Revolution. Clark concludes with a reading of Jackson Pollock’s tragic version of abstraction and suggests a new set of terms to describe avant-garde art—perhaps in its final flowering—in America after 1945. Shifting between broad, speculative history and intense analysis of specific works, Clark not only transfigures our usual understanding of modern art, he also launches a new set of proposals about modernity itself.

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Author

T. J. Clark

PublisherYale University Press

Print publication date March 1999 (in print)

Print ISBN 9780300075328

EISBN 9780300222036

Illustrations 252

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