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In this wide-ranging and original account of Modernism, Michael Levenson draws on more than twenty years of research and a career-long fascination with the movement, its participants, and the period during which it thrived. Seeking a more subtle understanding of the relations between the period's texts and contexts, he provides not only an excellent survey but also a significant reassessment of Modernism itself.Spanning many decades, illuminating individual achievements and locating them within the intersecting histories of experiment (Symbolism to Surrealism, Naturalism to Expressionism, Futurism to Dadaism), the book places the transformations of culture alongside the agitations of modernity (war, revolution, feminism, psychoanalysis). In this perspective, Modernism must be understood more broadly than simply in terms of its provocative works, experimental forms, and singular careers. Rather, as Levenson demonstrates, Modernism should be viewed as the emergence of an adversary culture of the New that depended on audiences as well as artists, enemies as well as supporters.

modernisme --- cultuurgeschiedenis --- avant-garde --- Wereldoorlog I --- gender --- 19de eeuw --- 20ste eeuw --- Modernism (Literature) --- 82.015 --- 82 "19" --- 82 "19" Literatuur. Algemene literatuurwetenschap--20e eeuw. Periode 1900-1999 --- Literatuur. Algemene literatuurwetenschap--20e eeuw. Periode 1900-1999 --- 82.015 Literaire stromingen --- Literaire stromingen --- Crepuscolarismo --- Literary movements --- Postmodernism (Literature) --- Literary movements. --- Movements, Literary --- Literature --- Modernisme (littérature) --- modernisme. --- cultuurgeschiedenis. --- avant-garde. --- Wereldoorlog I. --- gender. --- 19de eeuw. --- 20ste eeuw.

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Quels liens l’art et la mort entretiennent-ils à la Renaissance ? Comment montrer la mort en peinture ? Quelles sont les œuvres les plus exemplaires produites en Italie ? Afin d’apporter quelques éléments de réponse, l’auteur s’est appuyé sur la littérature artistique des xve et xvie siècles. Le rassemblement des textes a permis de dégager les enjeux théoriques de la figure de la mort, de détecter les types figuratifs prônés par les théoriciens, et de repérer les œuvres les plus célébrées à la Renaissance. L’enquête débouche sur un constat surprenant : au trépas individuel réfléchi par la peinture s’oppose la Mort universelle dans les œuvres éphémères et la gravure, comme si deux imaginaires entraient en concurrence.

Physiology: reproduction & development. Ages of life --- Art --- anno 1400-1499 --- anno 1500-1599 --- Death in art --- Painting, Italian --- Painting, Renaissance --- Mort dans l'art --- Peinture italienne --- Peinture de la Renaissance --- Themes, motives --- Thèmes, motifs --- renaissance --- Dood --- literatuur --- schilderkunst --- 15de eeuw --- 16de eeuw --- Italië --- Thèmes, motifs --- renaissance (historisch tijdvak, doorheen de 16e eeuw) --- Death in art. --- Italian painting --- Death --- Renaissance --- art --- peinture --- mort --- Dood. --- literatuur. --- schilderkunst. --- 15de eeuw. --- 16de eeuw. --- Italië. --- Artistes --- Mort --- Et la mort --- 15e-16e siècles --- Dans l'art

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Neue Sachlichkeit is thought by many to have too many diverse elements to be a unified movement. Originally divided by G.F. Hartlaub into two 'wings', Neue Sachlichkeit has since been broken down by critics into more groups, sometimes with opposing styles or regional influences. However, the importance of these divisions has rarely been explored in depth. Unlike previous surveys, which accept Neue Sachlichkeit as a divided entity, this book shows for the first time that in spite of its divisions, it may still be regarded as a unified, coherent movement. While different artists may have sought to express different specific concerns, what they all had in common was that they were uncomfortable with the world as it stood, and it is the way that this was expressed, making use of the object, that gave Neue Sachlichkeit its unity. This was just as true of the literature and photography of Neue Sachlichkeit , where the same themes as those found in the painting were frequently used. The fact that these are shared themes across different cultural media demonstrates that Neue Sachlichkeit reflected a mood of its time, and this book explores the ways in which this mood was expressed.

Art, German --- Neue Sachlichkeit (Art) --- Art, Modern --- ABR-Stuttgart (Group of artists) --- Bewegung Nurr (Group of artists) --- Blaue Reiter (Group of artists) --- Blaue Vier (Group of artists) --- Die Sieben (Group of artists) --- Ellipse (Group of artists) --- Gruppe Kranich (Group of artists) --- Künstlergruppe Chemnitz --- Neben E1N Ander (Group of artists) --- Pathetiker (Group of artists) --- 82:7 --- 82:7 Literatuur en kunst --- Literatuur en kunst --- Nieuwe Zakelijkheid --- nationaal-socialisme --- Wereldoorlog I --- geschiedenis --- 1918 - 1933 --- 20ste eeuw --- Duitsland --- Nieuwe Zakelijkheid. --- nationaal-socialisme. --- Wereldoorlog I. --- geschiedenis. --- 1918 - 1933. --- 20ste eeuw. --- Duitsland.

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From the early nineteenth century till the middle of the twentieth century, cultures in Europe were primarily national. They were organized and conceived of as attributes of the nation states. Nonetheless, these national cultures crossed borders with an unprecedented intensity even before globalization transformed the very concept of culture. During that long period, European cultures have imported and exported products, techniques, values, and ideas, relying on invisible but efficient international networks. The central agents of these networks are considered mediators: translators, publishers, critics, artists, art dealers and collectors, composers. These agents were not only the true architects of intercultural transfer, they also largely contributed to the shaping of a common canon and of aesthetic values that became part of the history of national cultures. Cultural Mediation in Europe, 1800-1950 analyses the strategic transfer roles of cultural mediators active in large parts of Western Europe in domains as varied as literature, music, painting, or art design.

design [discipline] --- Music --- fine arts --- literature [humanities] --- music [performing arts] --- mediation --- History of civilization --- Literature --- Art --- History of Europe --- Applied arts. Arts and crafts --- anno 1800-1999 --- Europe --- Cultural exchange --- Arts and society --- History --- Civilization --- Academic collection --- Cultural relations. --- fine arts [discipline] --- literature [discipline] --- Cahiers d'art : tijdschrift (Parijs, 1927-1960) --- cultuurgeschiedenis --- literatuur --- modernisme --- nationalisme --- Breuer, Marcel --- Clark, Jaime --- Larbaud, Valery --- Mehring, Walter --- Mesdag, Hendrik Willem --- Shakespeare, William --- 1800 - 1950 --- 19de eeuw --- 20ste eeuw --- Europa --- Intercultural relations --- Intellectual cooperation --- International relations --- Civilization. --- International relations. --- 1800-1999. --- Europe. --- Relations --- 1800-1999 --- cultuurgeschiedenis. --- literatuur. --- nationalisme. --- modernisme. --- Cahiers d'art : tijdschrift (Parijs, 1927-1960). --- Shakespeare, William. --- Clark, Jaime. --- Mehring, Walter. --- Mesdag, Hendrik Willem. --- Larbaud, Valery. --- Breuer, Marcel. --- 1800 - 1950. --- 19de eeuw. --- 20ste eeuw. --- Europa. --- music [performing arts genre] --- literary studies

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Boon, Elke ; Borremans, Michaël ; De Bruyckere, Berlinde ; de Cordier, Thierry ; Devriendt, Robert ; Dillemans, Sam ; Ensor, James ; Godard, Jean-Pol ; Kamagurka ; Lazou, Mathieu ; De Maesschalck, Jan ; Raveel, Roger ; Rustin, Jean ; Schütte, Thomas ; Strik, Elly ; Tuymans, Luc ; Vandenberg, Philippe ; Vanfleteren, Stephan ; Voordeckers, Jürgen ; Warhol, Andy

Iconography --- pain [sensation] --- suffering --- psychiatry --- Saliger, Joe --- Martynova, Katya --- Kamagurka --- Borremans, Michaël --- Warhol, Andy --- Lazou, Mathieu --- Ensor, James --- Dillemans, Sam --- Gillray, James --- Muyle, Johan --- Delvoye, Wim --- Eerdekens, Fred --- Tuymans, Luc --- Board, Ernest --- Goya y Lucientes, de, Francisco José --- Raveel, Roger --- Schneller, Joseph --- Dickinson, Rod --- Cordier, de, Thierry --- Strik, Elly --- Rustin, Jean --- Rops, Félicien --- Morgan, Barbara --- Maesschalck, De, Jan --- Schütte, Thomas --- Vanfleteren, Stephan --- Devriendt, Robert --- Vandenberg, Philippe --- Boon, Elke --- Bruyckere, De, Berlinde --- Heckel, Erich --- pijn --- psychiatrie --- lijden --- geneeskunde --- literatuur --- taalpijn --- Exposition --- Gent --- Erik Thijs, Sofie Vandamme, Arko Oderwald, Bart Morlion, David Le Breton, Erwin Mortier --- kunst --- iconografie --- beeldhouwkunst --- schilderkunst --- tekenkunst --- 7.041 --- 393 --- Fotografie --- Kunstzinnige vorming (kunsteducatie, kunstzinnige opvoeding) --- Pijn --- History of medicine --- Medicine and society --- Museums for the history of medicine incl. catalogues --- Patient care --- 21st century --- Belgium --- Flanders --- Nursing --- Medicine and society. --- Museums for the history of medicine incl. catalogues. --- 21st century. --- Flanders. --- Nursing. --- pijnbeleving --- Affective and dynamic functions --- Human physiology --- Boon, Elke Andreas --- pijn, smart, rouw, verdriet; 'Dolore, 'Dolore di Zeusi' (Ripa) --- geneeskunde, medische wetenschappen --- Tentoonstellingscatalogi ; Gent ; Museum Dr. Guislain --- Freud, Sigmund 1856-1939 (°Freiberg, Duitsland) --- Kunst en anatomie ; medische visualisering in media en cultuur --- Thema's in de kunst ; mededogen ; compassie --- Iconografie ; de mens, portretten --- pijn, smart, rouw, verdriet; 'Dolore, 'Dolore di Zeusi' (Ripa). --- psychiatrie. --- lijden. --- geneeskunde, medische wetenschappen. --- literatuur. --- taalpijn.