By Christos M. Joachimides, David Anfam, Norman Rosenthal
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Extra resources for American Art in the 20th Century - Painting and Sculpture, 1913-1993
Danto York School' (Tansey places him on the French opposite Joseph side, just who is shown looking longingly towards the French). The deep historical is why Duchamp's ideas should have detonated in the mid-1960s with the Cornell, question twin movements of Pop and Minimalism - the one concerned to erase the bound- and low, the other between aries bet\veen high the histon' of modernism on Greenbergian art lines, fine and industrial Pop was art. Concei%ing absolutely unpredictable, and Minimalism altogether incomprehensible.
Bourne carried into the twentieth century the role of cultural been forged by Henry David Thoreau in the 1830s and 1840s. WTiereas Thoreau's protest against slavery, made in the essay 'Ci\al Disobedience' (1849), pathy towards materialism led him to spend two years in a and his anti- hut by W^alden Pond, World War and, as a self- aware becoming recognizably modem. Bourne argued that if intellectuals did not resist the 'war spirit' and insist on keeping the verbal arguments going, then no one else would and militar\" logic would take over.
Finally, the Show converted two American painters - Stuart Da\as and Henry Fitch Taylor -to modernism. It is instructive, in this regard, to compare a picture such as Davis's 191 3 saloon scene The Back Room (WTiitney Museum of American Art, New York), in a dark Ashcan style in which the atmosphere of the time and place which is is wonderfully evoked, with his 191 7 The President (Fig. 4), without the subtie oscillation, in an 'anahndcal' Cubist style, although merged planes and triangular scaffolding found in the corresponding work of Picasso and Georges Braque.
American Art in the 20th Century - Painting and Sculpture, 1913-1993 by Christos M. Joachimides, David Anfam, Norman Rosenthal