The Age of the Avant-garde 1956-1972

I: The Age of the Avant-Garde; The Age of the Avant-Garde; II: The Nineteenth Century; 1: The Turner Revival; 2: The Radicalism of Courbet; 3: Late Monet; 4: The Conscience of Impressionism; 5: Degas as Expressionist; 6: Neo-Impressionism; 7: Odilon Redon: “The Medium of Mind”; 8: Medardo Rosso; 9: Simeon Solomon: Preview of a Revival; 10: The Pre-Raphaelite Revival; 11: Rediscovering Puvis de Chavannes; 12: Aubrey Beardsley: The Erotic and the Exquisite; 13: The Erotic Style; 14: Whistler: Choosing London over Paris; 15: Whistler in the Seminar Room; 16: Mary Cassatt: An American in Paris; 17: The Stratagems of Realism; III: The Twentieth Century: Germans and Other Northerners; 1: Lovis Corinth; 2: Edvard Munch; 3: The Rebellion of Oskar Kokoschka; 4: Egon Schiele; 5: Nolde: An Aggrieved Solitary; 6: Kirchner and Expressionism; 7: Feininger: A Visionary Cubist; 8: George Grosz: A Moral Recoil; 9: Poet and Pedagogue: Paul Klee; 10: Max Beckmann: “The Quality of Pulsating Life”; 11: Kandinsky: Theosophy and Abstraction; 12: Kandinsky: The Last Decade; 13: Mondrian’s Freedom; 14: Moholy-Nagy; 15: Rodchenko: Art in the Service of Revolution; 16: Thinking about Tatlin; 17: “The World of Art” in Exile; 18: Oskar Schlemmer’s Abstract Universe; 19: Walter Sickert and the Malaise of English Painting; 20: Epstein in London; 21: Barbara Hepworth: From the Avant-Garde to the Establishment; 22: Henry Moore: A Very English Romantic; The Twentieth Century: The School of Paris; 1: Matisse: The Paintings; 2: Matisse: The Sculpture; 3: Bourdelle: The Age of Innocence; 4: Vuillard; 5: Bonnard’s Drawings; 6: Picasso’s Radical Inventions; 7: Picasso’s “Guitar”; 8: Were These Braque’s “Great Years”?; 9: Juan Gris; 10: The Conversion of Julio Gonzalez; 11: Laurens: “The Ripening of Forms”; 12: Lipchitz’s Eloquence; 13: Chagall; 14: Soutine and the Problem of Expressionism; 15: Modigliani: Reconsidering a “Little Master”; 16: Miró: Enchanted Objects; 17: Arp: Purity of Heart, Purity of Form; 18: The Two Archipenkos; 19: Late Léger; 20: Duchamp: Resplendent Triviality; 21: Dali; 22: Picabia’s Dada Holiday; 23: Torres-Garcia: Scenario of Exile; 24: Giacometti; The Twentieth Century: Americans; 1: Reflections on Lachaise; 2: Prendergast; 3: Marsden Hartley: The Return of the Native; 4: The Loneliness of Arthur Dove; 5: The Ordeal of Alfred Maurer; 6: Introducing H. Lyman Sayen; 7: Man Ray’s Self-Portrait; 8: Arnold Friedman: “He Is Not a Pleasant Painter”; 9: Charles Sheeler: American Pastoral; 10: The Return of John Storrs; 11: The Legendary John Graham; 12: Walkowitz; 13: Edward Hopper: An American Vision; 14: The Sculpture of Saul Baizerman; 15: Romaine Brooks; 16: Arshile Gorky: Between Two Worlds; 17: The Confidence of Milton Avery; IV: Contemporaries; 1: The Sculpture of David Smith; 2: The Jackson Pollock Myth; 3: Robert Motherwell; 4: Willem de Kooning; 5: Ad Reinhardt; 6: Jean Dubuffet: Playing the Primitive; 7: Hofmann in Perspective; 8: Albers; 9: Louise Nevelson; 10: Joseph Cornell’s Baudelairean “Voyage”; 11: Balthus; 12: The Problem of Francis Bacon; 13: The Comic Fantasies of Saul Steinberg; 14: Isamu Noguchi; 15: “Homage to Trajan”; 16: José de Rivera; 17: Hélion: Returning from the Absolute; 18: Helen Frankenthaler: “The Landscape Paradigm”; 19: Mark di Suvero; 20: Anthony Caro; 21: Frank Stella; 22: Robert Morris: The Triumph of Ideas over Art; 23: An Art of Boredom?; 24: Claes Oldenburg; 25: Matta: Style vs. Ideology; 26: Prague: 1969; 27: Jean Ipousteguy; 28: Nicolas de Staël; 29: Fairfield Porter: Against the Historical Grain; 30: Expressionism plus Objects: The Art of Jim Dine; 31: Lindner’s Dream; 32: The Futurism of Ernest Trova; 33: Plebeian Figures, Banal Anecdotes: The Tableaux of George Segal; 34: Philip Pearlstein; 35: Ellsworth Kelly; 36: Mary Frank; 37: Richard Hunt; 38: Leland Bell: Painting in the Shadow of the Museum; 39: Dude-Ranch Dada; 40: Anne Arnold’s Peaceable Kingdom; 41: Alex Katz; 42: Comedies of Manners: Cecil Beaton and David Hockney; 43: The Sculpture of William King; V: The Art of Photography; 1: The Classicism of Henri Cartier-Bresson; 2: Edward Weston’s Privy and the Mexican Revolution; 3: Paul Strand; 4: Bill Brandt; 5: Walker Evans and Henri Cartier-Bresson; 6: From Fashion to Freaks: Diane Arbus; VI: Critics; 1: A Critic on the Side of History: Notes on Clement Greenberg; 2: The Contradictions of Herbert Read; 3: The Strange Case of Harold Rosenberg; VII: Into the Seventies; 1: “Information”; 2: Art and Politics: Incursions and Conversions; 3: Avant-Gardism; 4: And Now . . . Pop Art: Phase II; 5: William Bailey and the Artifice of Realism; 6: Andy’s “Mao” and Other Entertainments; 7: The Return of “Handmade” Painting; 8: Documenta 5: The Bayreuth of the Neo-Dadaists

Biography

Hilton Kramer