20TH CENTURY MOVEMENTS

PUBLISHER
Guggenheim Museum Publications

BOOK FORMAT
Paperback, 8 x 10.75 in. / 192 pg / 140 color.

PUBLISHING STATUS
Pub Date
Out of stock indefinitely

DISTRIBUTION
D.A.P. Exclusive
Catalog: FALL 2011 p. 71   

PRODUCT DETAILS
ISBN 9780892074051 TRADE
List Price: $40.00 CDN $50.00

AVAILABILITY
Not available

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GUGGENHEIM MUSEUM PUBLICATIONS

Chaos and Classicism

Art in France, Italy, and Germany, 1918-1936

Text by Emily Braun, Kenneth E. Silver, James Herbert, Jeanne Nugent, Helen Hsu.

Featured image, Julius Bissier's <i>Sculptor with Self-Portrait</i>, 1928, is reproduced from the paperback edition of <a href="9780892074051.html">Chaos and Classicism</a>.Now available in paperback, Chaos and Classicism explores the classicizing aesthetic that followed the immense destruction of World War I: the poetic dream of antiquity in the Parisian avant garde of Fernand Léger and Pablo Picasso; the politicized revival of the Roman Empire under Benito Mussolini by artists such as Giorgio de Chirico and Mario Sironi; and the austere functionalist utopianism of the Bauhaus, as well as, more chillingly, the pseudo-biological classicism, or Aryanism, of nascent Nazi society. Among the other artists surveyed here are Ludwig Mies van der Rohe, André Derain, Gino Severini, Jean Cocteau, Le Corbusier, Amédée Ozenfant, Madeleine Vionnet, Émile-Jacques Ruhlmann, Carlo Carrà, Giorgio Morandi, Massimo Campigli, Achille Funi, Ubaldo Oppi, Gio Ponti, Arturo Martini, Georg Kolbe, Oskar Schlemmer, Otto Dix, Georg Scholz, Georg Schrimpf, Wilhelm Schnarrenberger and August Sander.

Featured image, Julius Bissier's Sculptor with Self-Portrait, 1928, is reproduced from the paperback edition of Chaos and Classicism.

Chaos and Classicism

STATUS: Out of stock indefinitely.

FROM THE BOOK
"In the sober postwar period, the radical artistic experimentation that characterized the century's opening seemed inappropriate in the face of World War I's terrible destruction. Art that was innovative yet acknowledged was the past was essential to address both the need for order and the profound sense of tragedy that hung over the era. Classicism, with its figuration, clean lines, and modeled forms, functioned as both a vehicle for mourning and an assertion of beauty, and by the mid-1930s, these notions of classical rebirth were appropriated and fostered to devastating ends. Yet, the fact that Adolf Hitler and Benito Mussolini conceived of themselves as the reincarnations of ancient Greek and Roman rulers--and took their fantasies to terrible lengths--does not mean that the classical aesthetic and its various revivals are inherently dangerous. At its best, classicism is a language of democratic ideals, beauty and balance, with the power to redeem."

Richard Armstrong, excerpted from the preface to Chaos and Classicism.

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Chaos and Classicism: Art in France, Italy, and Germany, 1918-1936

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