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By Meyer Schapiro

This revised version of Meyer Schapiro's extraordinary number of essays features a new preface by means of Adrienne Baxter Bell.

thought of the grasp of the essay, Meyer Schapiro approached scholarship with loads of innovative old notion, in addition to an "unashamed ardour for the artworks earlier than him," rendering his writings hugely enticing and attractive to a wide diversity of readers.

A wealthy variety of writing are available inside this assortment, which bargains stories of person artists (Cézanne, Picasso, Mondrian, and Seurat) in addition to essays at the reception and social meanings of contemporary artwork. but, even in his such a lot aesthetic analyses, Schapiro by no means overpassed the heroic efforts of the person artists and of the cultural contexts during which their works have been made and received.

Modern Art gained the nationwide booklet Critics Circle Award (1978) and the Mitchell Prize for artwork background (1979) and used to be a nominee for a countrywide ebook Award (1979). Full-color and black-and-white pictures all through

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Le contentement large et solide de la faim . . la bourgeoisie appuyant sour dement l'Empire parce que l'Empire lui donne la patee matin et soir . . " And fur­ ther : HCet engraissement, cet entripaillement est Ie cote philoso­ phique et historique de l' oeuvre. "53 Should we not grant to the painter the depth of awareness that we admit in the poet who celebrates the same objects? 54 That master­ piece of pop art in the window display, crowned by the white goose, is hardly in Cezanne's taste; the judgment of its superiority to the paint­ ings betrays the great novelist's failure to distinguish between the work of the brush and the �eal model.

Completely undramatic, the still-life objects do not communicate with each other; their represented posi­ tions, as I have said, are largely arbitrary, subject only to physical laws and to accidents of manipulation. So the flowers on the table are no longer on their natural ground and might be replaced by artificial plants. Like the commodities in the windo\\7s of a shop they are a world of things, nature transposed or transformed for man. Genre painting, too, lacks the element of unique eventfulness, but offers pos­ tures, gestures and facial expressions that we read directly as the spon­ taneous movements of fellow-beings in a familiar sphere in which we ourselves participate.

132 . Cf. also the chorus, p . 1 30. 1 6 Imagines, lib . I, 6 . 1 7 See also note 31. 1 8 Correspondance, p . 36 ( July 9, 18 5 8 ) . , p . 5 5 (July 18 59 ) . 20 Zola, Correspondance, Lettres de ieunesse, p . 2 ( January 1 8 59 ) , 1 87, 1 8 8 ( December 30, 1 8 5 9 ) . , p . 2 5 5-"on les dessine Ie jour, et la nuit on les caresse" ( October 24, 1860 ) . 22 Venturi no. 104 ( 1870 ) . See also M . Schapiro, Paul Cezanne, New York ( 19 5 2 ) , corrected edition, 19 5 8, p . 22. In the drawings for this picture apples are repre­ sented-A .

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