Painting as ModelInformed by both structuralism and poststructuralism, these essays by art critic and historian Yve Alain Bois seek to redefine the status of theory in modernist critical discourse. Warning against the uncritical adoption of theoretical fashions and equally against the a priori rejection of all theory, Bois argues that theory is best employed in response to the specific demands of a critical problem. The essays lucidly demonstrate the uses of various theoretical approaches in conjunction with close reading of both paintings and texts. |
Contents
Matisse and Archedrawing | 35 |
Kahnweilers Lesson | 65 |
The De Stijl Idea | 101 |
In Search of Motivation | 123 |
Piet Mondrian New York City | 157 |
Perceiving Newman | 187 |
Rymans Tact | 215 |
The Task of Mourning | 229 |
Painting as Model | 245 |
Notes | 259 |
Bibliographical Note | 319 |
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abstract abstract art African art architecture artists Barnett Newman Benjamin Braque Broadway Boogie-Woogie brushstroke catalogue Cézanne Cézanne's color Composition conception contrast criticism cubism Damisch divisionism divisionist Doesburg drawing English tr essay example exhibition expression fact fauve fauvism Flam formal function Gallery Gauguin Grebo Grebo mask Greenberg Guitar Henri Matisse Ibid idea Kahnweiler Kahnweiler's Katarzyna Kobro lines Masheck Matisse's means Modern Art modernist Musée Museum of Modern Museum Sztuki Neo-Impressionism neoplasticism object Oil on canvas Onement opposition optical painter painting Panofsky paper papiers collés Paris perception Photo Picasso pictorial picture Piet Mondrian planes Pollock pure question refers relation remark Robert Ryman Rosalind Krauss Ryman Saussure Schneider sculpture Seurat Signac space Stijl Strzemiński and Kobro surface symmetry Tériade Theo van Doesburg theory tion tradition translation unism unist Władysław Strzemiński writing yellow York City