ISBN9780300222036:f0141-01

The large, olive-green wedge that drops from the upper left edge of Ocean Park #31 (1970; fig. 70) very quietly stirs a memory, eventually summoning up a grass-green wedge that rises at the left side of Henri Matisse’s Piano Lesson (1916; fig. 71). Then, looking around, we see...

Author

John Elderfield

PublisherYale University Press

Stable URL: https://aaeportal.com/?id=-21749&redirecttoanchor=7402

Chapter subject tags:Artists--United States--BiographyPainting, Abstract--United StatesPost-impressionism (Art)Art, American--20th centuryPainting, Modern--20th century

3. Freud’s Cézanne

T. J. Clark

Farewell to an Idea: Episodes from a History of Modernism

Modernism and materialism go together. This does not mean, any more than with modernism and socialism, that the fellowship was always recognized or welcomed at the time; or that, even when it was, artists agreed on which version of materialism to follow and exactly how. Cézanne, for instance, seems to have missed the point of Seurat’s atomism (possibly because he had too few opportunities to see Seurat’s paintings firsthand). Malevich thought the Constructivists were clanking along with …

Author

T. J. Clark

PublisherYale University Press

Related print edition pages: pp.139-167

https://doi.org/10.37862/aaeportal.00048.006

Stable URL: https://aaeportal.com/?id=-13746&redirecttoanchor=7402

Chapter subject tags:Modernism (Art)Cézanne, Paul, 1839-1906Freud, Sigmund, 1856-1939Psychoanalysis and artSex and art

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