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Arnason
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Table of Contents

Chapter 1: The Origins of Modern Art Chapter 2: The Search for Truth: Early Photography, Realism, and Impressionism Chapter 3: Post-Impressionism Chapter 4: Arts and Crafts, Art Nouveau, and the Beginnings of Expressionism Chapter 5: The New Century: Experiments in Color and Form Chapter 6: Expressionism in Germany and Austria Chapter 7: Cubism Chapter 8: Early Modern Architecture Chapter 9: European Art after Cubism Chapter 10: Picturing the Wasteland: Western Europe during World War I Chapter 11: Art in France after World War I Chapter 12: Clarity, Certainty, and Order: De Stijl and the Pursuit of Geometric Abstraction Chapter 13: Bauhaus and the Teaching of Modernism Chapter 14: Surrealism Chapter 15: American Art Before World War II Chapter 16: Abstract Expressionism and the New American Sculpture Chapter 17: Postwar European Art Chapter 18: Nouveau Realisme and Fluxus Chapter 19: Taking Chances with Popular Culture Chapter 20: Playing by the Rules: Sixties Abstraction Chapter 21: Modernism in Architecture at Mid-Century Chapter 22: Conceptual and Activist Art Chapter 23: Post-Minimalism, Earth Art, and New Imagists Chapter 24: Postmodernism Chapter 25: Painting through History Chapter 26: New Perspectives on Art and Audience Chapter 27: Contemporary Art and Globalization

About the Author

Elizabeth C. Mansfield is Vice President for Scholarly Programs at the National Humanities Center in Research Triangle Park, North Carolina. She has taught art history at New York University and the University of the South in Sewanee, Tennessee . A scholar of modern European art and art historiography, her publications include books and articles on topics ranging from the origins of modernism to Picasso's Demoiselles d'Avignon to the contemporary performance and body art of Orlan. Her 2007 book Too Beautiful to Picture: Zeus, Myth, and Mimesis was awarded the College Art Association's Charles Rufus Morey book prize. The late H.H. Arnason was a distinguished art historian, educator, and museum administrator who for many years was Vice President for Art Administration of the Solomon Guggenheim Museum in New York. He began his professional life in academia, teaching at Northwestern University, University of Chicago, and the University of Hawaii. From 1947 to 1961, Arnason was Professor and Chairman of the Department of Art at the University of Minnesota.

Reviews

"This is a significant and usable text for all undergraduate students of art history, and a very good source book for graduate students. It is an excellent source book for students studying the late nineteenth to the twenty-first centuries." - Caterina Pierre, Kingsborough Community College CUNY "It demonstrates a strong commitment to writing a history of modern art that is inclusive of women and artists of color. It is clearly written and works toward thorough consideration of a topic rather than superficial analysis. The best text for a course on Modern Art." - Cynthia Fowler, Emmanuel College "Comprehensive, in-depth study of respective stylistic developments in history of modernism; high-quality photographic reproductions; fundamental investment in discussing objects through its own evidence; willingness of text and author(s) to adjust with the times." - Mysoon Rizk, University of Toledo "I am pleased with the inclusion of more women and artists of color and with the context, technique and source boxes. As well, I am pleased with the increased quality of reproductions." - Prudence Roberts, Portland Community College

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