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• catalog abstract "This book tells the story of Germany's rich, flourishing, and diversified world of art in the last decades of the nineteenth century--a world that has until recently been eclipsed by the events of the twentieth century. Basing her narrative on a close reading of contemporary periodicals, and lavishly complementing it with cartoons and other illustrations from these publications, Beth Irwin Lewis provides the first systematic, comprehensive study of that German art world. She focuses on how critics and the public responded to new forms of painting that emerged in the 1880s, when the explosive growth of art exhibitions supported by local governments across a recently united Germany was accompanied by skyrocketing attendance of a new mass public. Describing the rapid critical acceptance and dominance of the new modern art in the 1890s, Lewis analyzes these developments within a complex interweaving of social, cultural, and economic factors. Although critics had hoped for a unified new art for the new nation, the success of modern art fragmented the art world, as modern artists and their supporters turned away from the often unreceptive mass public of the great exhibitions. Lewis's approach through the popular journals reveals the public's growing alienation from modern artists and an increasing contempt for the public on the part of these artists and their supporters--all of which prefigured tensions in the contemporary art world. Her wide-ranging text examines not only the various ways art was promoted to and received by the public, but also anti-Semitism, the role of women artists, and changes in style of both art and criticism.".
• catalog contributor b12873358.
• catalog created "c2003.".
• catalog date "2003".
• catalog date "c2003.".
• catalog dateCopyrighted "c2003.".
• catalog description "Includes bibliographical references (p. 413-432) and index.".
• catalog description "Prologue: Ape, Apotheosis, and Scandal -- Plates -- Pt. I. The Triumph of Modern Art, 1885-1892 -- Contemporary Art for the Modern Nation -- Carrying Art to the Public -- Pt. II. The Public and The Critic -- Pt. III. The Fragmenting of Art and Its Public, 1893-1899 -- Modern Artists: Pauper, Dilettante, and Prince -- Modern Art for an Elite Public -- Modernism: Acceptance and Resistance -- Epilogue: Jew, Emperor, and Paranoia.".
• catalog description "This book tells the story of Germany's rich, flourishing, and diversified world of art in the last decades of the nineteenth century--a world that has until recently been eclipsed by the events of the twentieth century. Basing her narrative on a close reading of contemporary periodicals, and lavishly complementing it with cartoons and other illustrations from these publications, Beth Irwin Lewis provides the first systematic, comprehensive study of that German art world. She focuses on how critics and the public responded to new forms of painting that emerged in the 1880s, when the explosive growth of art exhibitions supported by local governments across a recently united Germany was accompanied by skyrocketing attendance of a new mass public. Describing the rapid critical acceptance and dominance of the new modern art in the 1890s, Lewis analyzes these developments within a complex interweaving of social, cultural, and economic factors. Although critics had hoped for a unified new art for the new nation, the success of modern art fragmented the art world, as modern artists and their supporters turned away from the often unreceptive mass public of the great exhibitions. Lewis's approach through the popular journals reveals the public's growing alienation from modern artists and an increasing contempt for the public on the part of these artists and their supporters--all of which prefigured tensions in the contemporary art world. Her wide-ranging text examines not only the various ways art was promoted to and received by the public, but also anti-Semitism, the role of women artists, and changes in style of both art and criticism.".
• catalog extent "447 p. :".
• catalog identifier "0691102643 (alk. paper)".
• catalog identifier "0691102651 (pbk. : alk. paper)".
• catalog issued "2003".
• catalog issued "c2003.".
• catalog language "eng".
• catalog publisher "Princeton, N.J. : Princeton University Press,".
• catalog spatial "Germany".
• catalog spatial "Germany.".
• catalog subject "709/.43/09034 21".
• catalog subject "Art criticism Germany History 19th century.".
• catalog subject "Art, German 19th century.".
• catalog subject "Arts audiences Germany Psychology.".
• catalog subject "Arts, German 19th century.".
• catalog subject "Modernism (Art) Germany.".
• catalog subject "NX550.A1 L48 2003".
• catalog tableOfContents "Prologue: Ape, Apotheosis, and Scandal -- Plates -- Pt. I. The Triumph of Modern Art, 1885-1892 -- Contemporary Art for the Modern Nation -- Carrying Art to the Public -- Pt. II. The Public and The Critic -- Pt. III. The Fragmenting of Art and Its Public, 1893-1899 -- Modern Artists: Pauper, Dilettante, and Prince -- Modern Art for an Elite Public -- Modernism: Acceptance and Resistance -- Epilogue: Jew, Emperor, and Paranoia.".
• catalog title "Art for all? : the collision of modern art and the public in late-nineteenth-century Germany / Beth Irwin Lewis.".
• catalog type "History. fast".
• catalog type "text".