Marketing Modernism in Fin-de-Siècle Europe
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A01=Robert Jensen
Academic art
Aesthetic Theory
Aestheticism
Alfred Rethel
Alfred Sisley
Ambroise Vollard
Art criticism
Art for art's sake
Art Nouveau
Arts and Crafts movement
Author_Robert Jensen
Barbizon school
Berlin Secession
Berthe Weill
Camille Pissarro
Category=AGA
Category=JBCC9
Classicism
Contemporary art
Daniel-Henry Kahnweiler
Descriptive Catalogue (1809)
Dreyfus affair
Ecole des Beaux-Arts
Edvard Munch
eq_art-fashion-photography
eq_bestseller
eq_isMigrated=1
eq_isMigrated=2
eq_nobargain
eq_non-fiction
eq_society-politics
French art
Georges de La Tour
Georges Seurat
German art
German idealism
German Romanticism
Gustave Caillebotte
Gustave Courbet
Henri Fantin-Latour
Henri Matisse
Impressionism
International Style (architecture)
Italian Renaissance painting
Juste milieu
L'Histoire
La Revue Blanche
Le Figaro
Les Baigneuses (Gleizes)
Louis Comfort Tiffany
Maison de l'Art Nouveau
Marcel Duchamp
Maximilien Luce
Mercure de France
Modern art
Modernism
Munich Secession
Neo-impressionism
Neoclassical architecture
Palais de l'Industrie
Paul Delaroche
Paul Durand-Ruel
Paul Gauguin
Pierre-Auguste Renoir
Political Liberalism
Positioning (marketing)
Post-Impressionism
Postmodernism
Renaissance art
Rococo
Romanticism
Salon d'Automne
Salon de la Rose + Croix
Salon des Cent
Soziologie
The Impressionists (BBC drama)
The Realist
Thomas Couture
Vienna Secession
William-Adolphe Bouguereau
Product details
- ISBN 9780691029269
- Weight: 567g
- Dimensions: 152 x 235mm
- Publication Date: 12 Jan 1997
- Publisher: Princeton University Press
- Publication City/Country: US
- Product Form: Paperback
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In this fundamental rethinking of the rise of modernism from its beginnings in the Impressionist movement, Robert Jensen reveals that market discourses were pervasive in the ideological defense of modernism from its very inception and that the avant-garde actually thrived on the commercial appeal of anti-commercialism at the turn of the century. The commercial success of modernism, he argues, depended greatly on possession of historical legitimacy. The very development of modern art was inseparable from the commercialism many of its proponents sought to transcend. Here Jensen explores the economic, aesthetic, institutional, and ideological factors that led to its dominance in the international art world by the early 1900s. He emphasizes the role of the emerging dealer/gallery market and of modernist art historiographies in evaluating modern art and legitimizing it through the formation of a canon of modernist masters.
In describing the canon-building of modern dealerships, Jensen considers the new "ideological dealer" and explores the commercial construction of artistic identity through such rhetorical concepts as temperament and "independent art" and through such institutional structures as the retrospective. His inquiries into the fate of the juste milieu, a group of dissidents who saw themselves as "true heirs" of Impressionism, and his look at a new form of art history emerging in Germany further expose a linear, dealer- oriented history of modernist art constructed by or through the modernists themselves.
Robert Jensen is currently a Fellow at Stanford Humanities Center.
