By Meyer Schapiro
This revised version of Meyer Schapiro's extraordinary number of essays incorporates a new preface via Adrienne Baxter Bell.
thought of the grasp of the essay, Meyer Schapiro approached scholarship with loads of inventive ancient notion, in addition to an "unashamed ardour for the artworks sooner than him," rendering his writings hugely enticing and attractive to a extensive variety of readers.
A wealthy variety of writing are available inside of this assortment, which bargains experiences of person artists (Cézanne, Picasso, Mondrian, and Seurat) in addition to essays at the reception and social meanings of recent artwork. but, even in his so much aesthetic analyses, Schapiro by no means overpassed the heroic efforts of the person artists and of the cultural contexts within which their works have been made and received.
Modern Art gained the nationwide publication Critics Circle Award (1978) and the Mitchell Prize for artwork historical past (1979) and was once a nominee for a countrywide booklet Award (1979). Full-color and black-and-white photos all through
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Extra resources for Modern Art: 19th and 20th Centuries: Selected Papers
Yet it springs from a mania for reality that might be avowed by a romantic pain ter questing for an ultimate in his art. The meaningfulness of still-life, that Zola cannot see in the painter's choice, he asserts and elaborates at length in his own writing. le," of this n1onstrously exuber ant world of still-life. I n the novelist's depiction of the food in the market are expressed his great appetite for life and his awe before the boundless fertility of a nature that embraces human society as well.
At that time, Cezanne was studying with profound care the colors and forms of the apple as an exemplary motif. It is the grand order of certain of those works, composed with great draperies and complex balanced groups of fruit, that justifies the idea that the apple was for him an equiva lent of the human figure. Cezanne, it is known, desired to paint the nude from life but was embarrassed by the female model-a fear of his own impulses which, when allowed free play in paintings from imagination, had resulted at an earlier time in pictures of violent pas sion.
The painter's habitual selection comes in time to stand for the artist and is recognizably his. 6 4 This involuntary homage to the objects does not carry with it, however, an insight into the choice itself. 65 I have written elsewhere of Cezanne's unique detachment from both social formality and appetite in the conception of the objects on the domestic or studio table. e never set as for a meal; the fruit is rarely if ever cut or peeled; the scattering of the still-life and the random spread and fall of the linen in irregular folds imply a still unordered ,vorld.
Modern Art: 19th and 20th Centuries: Selected Papers by Meyer Schapiro