Prehistoric Pictures and American Modernism
Abstract Art at MoMA 1937-1939
Publisher: Bloomsbury Visual Arts
Date of Publication: 19 October 2023
Number of Volumes: Hardback
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Product details:
| ISBN13: | 9781350185241 |
| ISBN10: | 1350185248 |
| Binding: | Hardback |
| No. of pages: | 256 pages |
| Size: | 234x156 mm |
| Language: | English |
| Illustrations: | 16 colour & 28 bw illus |
| 647 |
Category:
Long description:
In April 1937, the Museum of Modern Art in New York hosted an exhibition that served as a catalyst for the appropriation of prehistoric rock art in postwar abstract painting. With the title "Prehistoric Rock Pictures in Europe and Africa", it displayed a range of copies from the influential collection of the German ethnologist Leo Frobenius.
Largely disregarded in modern American art history up until now, this book highlights the importance of this exhibition to artists such as Josef Albers, Adolph Gottlieb, David Smith, and The American Abstract Artists group, who sought inspiration from the prehistoric images' primordial creativity. With a transnational scope, this book reveals new facts about the connections between Paris and New York, and the importance of communication and collaboration between them for these artists. In doing so, Seibert shows that this debate was about more than just legitimizing abstract art forms from the past, but about recognizing an autonomous American abstract art.
Presenting unseen archival material, letters, and exhibition documentation, Prehistoric Pictures and American Modernism offers a new reading of the development of modern American abstraction, and will hold an important place in the historiography of the movement, its global traditions, and its legacy.
Largely disregarded in modern American art history up until now, this book highlights the importance of this exhibition to artists such as Josef Albers, Adolph Gottlieb, David Smith, and The American Abstract Artists group, who sought inspiration from the prehistoric images' primordial creativity. With a transnational scope, this book reveals new facts about the connections between Paris and New York, and the importance of communication and collaboration between them for these artists. In doing so, Seibert shows that this debate was about more than just legitimizing abstract art forms from the past, but about recognizing an autonomous American abstract art.
Presenting unseen archival material, letters, and exhibition documentation, Prehistoric Pictures and American Modernism offers a new reading of the development of modern American abstraction, and will hold an important place in the historiography of the movement, its global traditions, and its legacy.
Table of Contents:
Part One: Introduction
1 Preface
2 Prehistory as a Modern Idea in Europe and "Primitivism" as intertwined concepts (1900-1940)
Part Two: Prehistoric Artifacts, Prints, Painted Copies and the Genesis of Modern Art in New York (1937)
3 Alfred Barr's View of Prehistory and Modernism as Shown at MoMA
4 Barr`s exhibition concept: "Prehistoric" Avant-Garde and Lala Eve Rivol's Federal Art Project
5 Leo Frobenius's Objectives, His Collection in Western debates-and Henry Moore
6 The Making of the MoMA Exhibition Prehistoric Rock Pictures in Europe and Africa
(28 April-30 May, 1937)
Part Three: The Art of Copying the Past-in Transatlantic Dialogue
7 Copies and Copyists: Pictorial Heritage at the Museum of Modern Art
8 Copying for the Index of American Design (1935-42)
Part Four: Modern American Abstract Art and their Re-appropriation of Prehistoric Rock Paintings
9 The Founding of the American Abstract Artists (1936) and their Appropriation of Prehistoric Rock Paintings (1937-40)
10 Bridging Time and Space:Transcontinental AAA Networks in the Interwar Period
11 The Influence of (prehistoric) Artistic Concepts from Mexico on the American Abstract Artists
12 Prehistorical Modernists: Gottlieb, Lassaw, Schanker, Smith
Part Five: Conclusion
13 The "Modernity" of Prehistory in the Thirties in Paris and New York
Appendix I and II
Bibliography
Index
1 Preface
2 Prehistory as a Modern Idea in Europe and "Primitivism" as intertwined concepts (1900-1940)
Part Two: Prehistoric Artifacts, Prints, Painted Copies and the Genesis of Modern Art in New York (1937)
3 Alfred Barr's View of Prehistory and Modernism as Shown at MoMA
4 Barr`s exhibition concept: "Prehistoric" Avant-Garde and Lala Eve Rivol's Federal Art Project
5 Leo Frobenius's Objectives, His Collection in Western debates-and Henry Moore
6 The Making of the MoMA Exhibition Prehistoric Rock Pictures in Europe and Africa
(28 April-30 May, 1937)
Part Three: The Art of Copying the Past-in Transatlantic Dialogue
7 Copies and Copyists: Pictorial Heritage at the Museum of Modern Art
8 Copying for the Index of American Design (1935-42)
Part Four: Modern American Abstract Art and their Re-appropriation of Prehistoric Rock Paintings
9 The Founding of the American Abstract Artists (1936) and their Appropriation of Prehistoric Rock Paintings (1937-40)
10 Bridging Time and Space:Transcontinental AAA Networks in the Interwar Period
11 The Influence of (prehistoric) Artistic Concepts from Mexico on the American Abstract Artists
12 Prehistorical Modernists: Gottlieb, Lassaw, Schanker, Smith
Part Five: Conclusion
13 The "Modernity" of Prehistory in the Thirties in Paris and New York
Appendix I and II
Bibliography
Index
