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191 books about Modern (late 19th Century to 1945) and 8
start with R
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191 books about Modern (late 19th Century to 1945) and 8
191 books about Modern (late 19th Century to 1945)
8 start with R start with R
8 start with R start with R
Race and Modern Architecture
A Critical History from the Enlightenment to the Present
Irene Cheng, Charles L. Davis II, & Mabel O. Wilson
University of Pittsburgh Press, 2020
Although race—a concept of human difference that establishes hierarchies of power and domination—has played a critical role in the development of modern architectural discourse and practice since the Enlightenment, its influence on the discipline remains largely underexplored. This volume offers a welcome and long-awaited intervention for the field by shining a spotlight on constructions of race and their impact on architecture and theory in Europe and North America and across various global contexts since the eighteenth century. Challenging us to write race back into architectural history, contributors confront how racial thinking has intimately shaped some of the key concepts of modern architecture and culture over time, including freedom, revolution, character, national and indigenous style, progress, hybridity, climate, representation, and radicalism. By analyzing how architecture has intersected with histories of slavery, colonialism, and inequality—from eighteenth-century neoclassical governmental buildings to present-day housing projects for immigrants—Race and Modern Architecture challenges, complicates, and revises the standard association of modern architecture with a universal project of emancipation and progress.
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Rebuilding Cities and Citizens
Mass Housing in Red Vienna and Cold War Berlin
Margaret Haderer
Amsterdam University Press, 2023
response to a dire social need, but also served as a key lever for building socialism and liberalism. Zooming into the interplay between ideologies and the production of space, this book shows that ideologies are never simply ‘written’ into space, but that their meaning is made and re-made, negotiated and contested, and sometimes cunningly subverted in and through space. How people live was and continues to be a profoundly political question that involves negotiations of and decisions on norms and ideals of citizenship, freedom, equality, property, democracy, family life, and gender relations – negotiations and decisions comes with legacies.
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Relearning from Las Vegas
Aron Vinegar
University of Minnesota Press, 2009
René Magritte
The Artist’s Materials
Catherine Defeyt
J. Paul Getty Trust, The
The first book-length material study of the works of Belgian Surrealist René Magritte.
René Magritte (1898–1967) is the most famous Belgian artist of the twentieth century and a celebrated representative of the Surrealist movement. Much has been written about his practices, artistic community, and significance within the history of modernism, but little has been documented regarding his process.
This volume examines fifty oil paintings made by Magritte between 1921 and 1967, now held at the Royal Museums of Fine Arts of Belgium. This technical study of his works using noninvasive scientific imaging and chemical analysis reveals the artist’s painting materials, his habit of overpainting previous compositions, and the origins and mechanisms of surface and pigment degradation. Of interest to conservators, scientists, curators, and enthusiasts of twentieth-century art, this book expands our understanding of Magritte the artist and provides new and useful findings that will inform strategies for the future care of his works.
René Magritte (1898–1967) is the most famous Belgian artist of the twentieth century and a celebrated representative of the Surrealist movement. Much has been written about his practices, artistic community, and significance within the history of modernism, but little has been documented regarding his process.
This volume examines fifty oil paintings made by Magritte between 1921 and 1967, now held at the Royal Museums of Fine Arts of Belgium. This technical study of his works using noninvasive scientific imaging and chemical analysis reveals the artist’s painting materials, his habit of overpainting previous compositions, and the origins and mechanisms of surface and pigment degradation. Of interest to conservators, scientists, curators, and enthusiasts of twentieth-century art, this book expands our understanding of Magritte the artist and provides new and useful findings that will inform strategies for the future care of his works.
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Resisting Abstraction
Robert Delaunay and Vision in the Face of Modernism
Gordon Hughes
University of Chicago Press, 2014
Robert Delaunay was one of the leading artists working in Paris in the early decades of the twentieth century, and his paintings have been admired ever since as among the earliest purely abstract works.
With Resisting Abstraction, the first English-language study of Delaunay in more than thirty years, Gordon Hughes mounts a powerful argument that Delaunay was not only one of the earliest artists to tackle abstraction, but the only artist to present his abstraction as a response to new scientific theories of vision. The colorful, optically driven canvases that Delaunay produced, Hughes shows, set him apart from the more ethereal abstraction of contemporaries like Kandinsky, Mondrian, Kazimir Malevich, and František Kupka. In fact, Delaunay emphatically rejected the spiritual motivations and idealism of that group, rooting his work instead in contemporary science and optics. Thus he set the stage not only for the modern artists who would follow, but for the critics who celebrated them as well.
With Resisting Abstraction, the first English-language study of Delaunay in more than thirty years, Gordon Hughes mounts a powerful argument that Delaunay was not only one of the earliest artists to tackle abstraction, but the only artist to present his abstraction as a response to new scientific theories of vision. The colorful, optically driven canvases that Delaunay produced, Hughes shows, set him apart from the more ethereal abstraction of contemporaries like Kandinsky, Mondrian, Kazimir Malevich, and František Kupka. In fact, Delaunay emphatically rejected the spiritual motivations and idealism of that group, rooting his work instead in contemporary science and optics. Thus he set the stage not only for the modern artists who would follow, but for the critics who celebrated them as well.
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Resisting Postmodern Architecture
Critical Regionalism before Globalisation
Stylianos Giamarelos
University College London, 2022
A critical reappraisal of one of the most popular architectural theories of the recent past on its fortieth anniversary.
Since its first appearance in 1981, critical regionalism has enjoyed a celebrated worldwide reception as an architectural theory that defends the cultural identity of a place resisting the homogenizing onslaught of globalization. Its principles of acknowledging the climate, history, materials, culture, and topography of a specific place are integrated into architects’ education across the globe. But at the same time, the richer cross-cultural history of critical regionalism has frequently been reduced to schematic juxtapositions of “the global” with “the local.”
This book uses more than fifty interviews and previously unpublished archival material from six countries to resituate critical regionalism within the wider framework of debates around postmodern architecture, the diverse contexts from which it emerged, and the cultural media complex that conditioned its reception. In so doing, it explores the intersection of three areas of growing historical and theoretical interest—postmodernism, critical regionalism, and globalization—and shows how the “periphery” was not just a passive recipient, but also an active generator of architectural theory and practice.
Since its first appearance in 1981, critical regionalism has enjoyed a celebrated worldwide reception as an architectural theory that defends the cultural identity of a place resisting the homogenizing onslaught of globalization. Its principles of acknowledging the climate, history, materials, culture, and topography of a specific place are integrated into architects’ education across the globe. But at the same time, the richer cross-cultural history of critical regionalism has frequently been reduced to schematic juxtapositions of “the global” with “the local.”
This book uses more than fifty interviews and previously unpublished archival material from six countries to resituate critical regionalism within the wider framework of debates around postmodern architecture, the diverse contexts from which it emerged, and the cultural media complex that conditioned its reception. In so doing, it explores the intersection of three areas of growing historical and theoretical interest—postmodernism, critical regionalism, and globalization—and shows how the “periphery” was not just a passive recipient, but also an active generator of architectural theory and practice.
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Revelation of Modernism
Response to Cultural Crises in Fin-de-Siécle Painting
Albert Boime
University of Missouri Press, 2008
Among postimpressionist painters, Van Gogh, Seurat, Cézanne, and Gauguin produced a remarkable body of work that responded to a cultural and spiritual crisis in the avant-garde world—influences that pushed them toward an increasing reliance on science, literature, and occultism. In Revelation of Modernism, renowned art historian Albert Boime reappraises specific works by these masters from a perspective more appreciative of the individuals’ inner conflicts, offering the art world a new understanding of a period fraught with apocalyptic fears and existential anxieties.
Building on the seminal observations of Sven Lövgren from a half-century ago, Boime rejects popular notions of “art for art’s sake” and rethinks an entire movement to suggest that history, rather than expressive urge, is the driving force that shapes art. He reconsiders familiar masterpieces from a fresh perspective, situating the art in the contexts of history both real and speculative, of contemporary philosophy, and of science to depict modernism as a development that ultimately failed.
Boime expands on what we think we know about these figures and produces startling new revelations about their work. From the political history of Seurat’s Parade de cirque to the astronomical foundations of Van Gogh’s Starry Night, he draws analogies between literary sources and social, personal, and political strategies that have eluded most art historians. He offers a richer and more complex vision of Cézanne, considering the artist as an Old Testament figure in search of the Promised Landscape. And he provides a particularly detailed look at Gauguin—on whom Boime has never previously published—that takes a closer look at the artist’s The Vision after the Sermon and its allusions to Eliphas Lévi’s writings, sheds light on the sources for From whence do we come? and offers new thoughts about Gauguin’s various self-portraits.
Boime’s latest contribution further testifies to his status as one of our most important living art historians. As entertaining as it is eloquent, Revelation of Modernism is a bold and groundbreaking work that should be required reading for all who wish to understand the contradictory origins and development of modernism and its role in history.
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Rise of the Modern Hospital
An Architectural History of Health and Healing, 1870-1940
Jeanne Kisacky
University of Pittsburgh Press, 2016
Rise of the Modern Hospital is a focused examination of hospital design in the United States from the 1870s through the 1940s. This understudied period witnessed profound changes in hospitals as they shifted from last charitable resorts for the sick poor to premier locations of cutting-edge medical treatment for all classes, and from low-rise decentralized facilities to high-rise centralized structures. Jeanne Kisacky reveals the changing role of the hospital within the city, the competing claims of doctors and architects for expertise in hospital design, and the influence of new medical theories and practices on established traditions. She traces the dilemma designers faced between creating an environment that could function as a therapy in and of itself and an environment that was essentially a tool for the facilitation of increasingly technologically assisted medical procedures. Heavily illustrated with floor plans, drawings, and photographs, this book considers the hospital building as both a cultural artifact, revelatory of external medical and social change, and a cultural determinant, actively shaping what could and did take place within hospitals.
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