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Depuis 1991, une polémique fait rage sur l'art contemporain. Les accusateurs s'en prennent aux impostures ou aux hermétismes des héritiers de Duchamp et de Warhol. Leurs adversaires défendent les valeurs d'une avant-garde vieille de 150 ans. Cette crise est l'indice d'un malaise irrémédiable touchant le rôle de l'art dans nos sociétés. Nous vivons la fin de l'utopie de l'art, c'est-à-dire la fin d'une croyance dans les pouvoirs de critique, de transfiguration et surtout de communication de l'art. Quand la culture devient un monde séparé destiné au loisir, quand les valeurs de la démocratie remettent en cause la déférence forcée du public pour les goûts de l'élite, quand il ne peut plus y avoir ni prophètes ni mages, il reste la comédie de l'avant-gardisme d'Etat s'efforçant en vain de produire administrativement du sens.

Art, Modern --- Art criticism --- Art and society --- Analyse de l'art --- Théorie de l'art --- Art contemporain --- Philosophy. --- History --- Art --- Critique d'art --- Art [Modern ] --- 20th century --- Philosophy --- France --- Art, Modern - 20th century - Philosophy. --- Art criticism - France - History - 20th century. --- Art and society - France - History - 20th century. --- Art, Modern - 20th century. --- Art, Modern - 20th century - Philosophy --- Art criticism - France - History - 20th century --- Art and society - France - History - 20th century --- Art, Modern - 20th century

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La France aime-t-elle ses artistes ? A en croire une polémique récente, l'art contemporain serait sans nécessité ni avenir, sans amateurs ni acheteurs. Il y aurait d'un côté les tenants du bon goût et de l'autre une élite éprise d'hermétisme. Simpliste ? Sans doute. Mais les Français défilent en masse devant les Impressionnistes et font la grimace devant l'art d'aujourd'hui. Serait-ce cela, l'exception culturelle nationale ? Critique d'art au journal Le Monde, Philippe Dagen affirme les enjeux de cette nouvelle querelle des Anciens et des Modernes. Il analyse cette haine singulière de l'art, qui jadis alla jusqu'à l'autodafé et ne va plus, aujourd'hui, au-delà de l'indifférence. Les musées ressemblent à des sarcophages. La monomanie du patrimoine étend son empire. L'Etat culturel restreint une aide déjà parcimonieuse. L'influence artistique française à l'étranger s'évanouit. Au nom de la tradition, le classique rétablit sa molle dictature. Pourquoi ce culte de ce qui fut et ce refus de ce qui est ? La société française ne demanderait-elle plus qu'une chose à ses artistes importuns : qu'ils la laissent dormir, ou mourir, en paix ?

Art and society --- Art, French --- History --- Philippe Dagen --- Fumaroli Marc --- Clair Jean --- 7.01 --- Baudrillard Jean --- Frankrijk --- kunst --- kunst en politiek --- kunstkritiek --- kunsttheorie --- Art, Modern --- Faisant (Group of artists) --- Figuration libre (Group of artists) --- Untel (Group of artists) --- Art --- Art and sociology --- Society and art --- Sociology and art --- Social aspects --- Art et société --- Art français --- France --- 20th century --- Art [Modern ] --- Art and society - France - History - 20th century. --- Art, French - 20th century.

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Late nineteenth- and early twentieth-century France is generally thought of as the embodiment of artistic modernism. However, in this original and perceptive study, Romy Golan argues that, after the First World War, traumatized by the experience of the trenches and then by the stranglehold of the Depression, France suffered a crisis of confidence so profound that it initiated a period of cultural, political, and economic retrenchment that lasted into the Vichy years. Golan argues that reactionary issues such as anti-urbanism, the return to the soil, regionalism, corporatism, xenophobia, and doubts about the new technology became central to cultural and art-historical discourse. Focusing on the overlap of avant-garde and middle-of-the-road production, she investigates the import of these issues not only in, painting, sculpture, and architecture (concentrating on the work of Leger, Picasso, Le Corbusier, Ozenfant, Derain, the Surrealists, and the so-called naifs), but also in the decorative arts, in the spectacle of world and colonial fairs, and in literature. Throughout she finds evidence that artists turned from the aesthetics of the machine age toward a more organic, naturalistic art. This leads her to ask whether the famous and momentous shift of the avant-garde from Paris to New York in 1939 did not, in fact, begin two decades earlier, in 1918. According to Golan, it was in democratic France of this period, rather than in Fascist Italy or Nazi Germany, that one finds the most compelling demonstration of the hidden interaction of art and ideology.

kunst --- politieke geschiedenis --- 1918-1939 --- Frankrijk --- Art, French --- Art and society --- History --- France --- Politics and government --- -Art, French --- -Art, Modern --- French art --- Ecole de Nice (Group of artists) --- Forces nouvelles (Group of artists) --- Nabis (Group of artists) --- Ne pas plier (Group of artists) --- Art --- Art and sociology --- Society and art --- Sociology and art --- -Social aspects --- -Politics and government --- -Art and society --- -History --- -France --- -Pʻŭrangsŭ --- Frankrig --- Francja --- Frant︠s︡ii︠a︡ --- Prantsusmaa --- Francia (Republic) --- Tsarfat --- Tsorfat --- Franḳraykh --- Frankreich --- Fa-kuo --- Faguo --- Франция --- French Republic --- République française --- Peurancih --- Frankryk --- Franse Republiek --- Francland --- Frencisc Cynewīse --- فرنسا --- Faransā --- Franza --- Republica Franzesa --- Gallia (Republic) --- Hyãsia --- Phransiya --- Fransa --- Fransa Respublikası --- Franse --- Францыя --- Frantsyi︠a︡ --- Французская Рэспубліка --- Frantsuzskai︠a︡ Rėspublika --- Parancis --- Pransya --- Franis --- Francuska --- Republika Francuska --- Bro-C'hall --- Френска република --- Frenska republika --- França --- República Francesa --- Pransiya --- Republikang Pranses --- Γαλλία --- Gallia --- Γαλλική Δημοκρατία --- Gallikē Dēmokratia --- فرانسه --- Farānsah --- צרפת --- רפובליקה הצרפתית --- Republiḳah ha-Tsarfatit --- פראנקרייך --- 法国 --- 法蘭西共和國 --- Falanxi Gongheguo --- フランス --- Furansu --- フランス共和国 --- Furansu Kyōwakoku --- Francija --- Ranska --- Frankrike --- Art, Modern --- Faisant (Group of artists) --- Figuration libre (Group of artists) --- Untel (Group of artists) --- Social aspects --- Art français --- Art et société --- Histoire --- Politique et gouvernement --- interbellum --- Art, French - 20th century --- Art and society - France - History - 20th century --- France - Politics and government - 1914-1940 --- interbellum. --- Frankrijk.