By Steve Edwards
The essays during this quantity interact without delay with topical matters round paintings and gender, globalization, cultural distinction, and curating, in addition to explorations of key artists and routine and a few much less well-documented paintings by means of modern artists.
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Photo: © 2012 The Museum of Modern Art/Scala, Florence. Before the Second World War, the alternative centres of modernism were also key sites of uneven and combined development: Berlin, Budapest, Milan, Moscow and Prague. In these places, large-scale industry was created by traditional elites in order to develop the production capacities required to compete militarily with Britain. Factory production was plopped down into largely agrarian societies, generating massive shocks to social equilibrium.
The interchange between people from different nations bred a form of cultural internationalism. In interwar Paris, artists from Spain, Russia, Mexico, Japan and a host of other places rubbed shoulders. Modernist artists attempted to transcend parochial and local conditions and create a formal ‘language’ valid beyond time and place, and ‘the school of Paris’ or the ‘international modern movement’ signified a commitment to a culture more capacious and vibrant than anything the word ‘national’ could contain.
Until the twentieth century, all works of art in the western tradition had that dual aspect. With the advent of abstract art, of course, depicted subject matter seems to diminish in significance, or even to disappear entirely. This is not to say that meaning disappears from abstract art, as we shall see in subsequent chapters, but twentieth-century abstraction did tilt the balance between depicted subjects and the formal features of art to an unprecedented degree. 3 French School, The Nativity, from Psautier à l’Usage de Paris, thirteenth century, vellum.