History of Modern Art (Hard cover) / Edition 6

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Long considered the survey of modern art, this engrossing and liberally illustrated text traces the development of trends and influences in painting, sculpture, photography and architecture from the mid-nineteenth century to the present day. Retaining its comprehensive nature and chronological approach, it now comes thoroughly reworked by Elizabeth Mansfield, an experienced art historian and writer, with refreshing new analyses, a considerably expanded picture program, and a more absorbing and unified narrative.

1,417 illustrations, 319 in full color, 744 pages, 8-5/8 x 11-1/2".

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Editorial Reviews

Library Journal
Since the first edition of Arnason's survey was published more than four decades ago, this has been considered the book on modern art. Newly revised and expanded by Mansfield (art history, New York Univ.; Too Beautiful To Picture: Zeuxis, Myth, and Mimesis), it should still be considered as such. The images are more numerous and of higher quality than ever before. Contemporary art is presented thematically rather than by decade, and various media are integrated. New consideration is given to globalization and the influence of modernism on non-Western and developing countries. Kenny Scharf is not covered in this edition, but the Hairy Who, Santiago Calatrava, and many others have been added. Further learning is fostered by the book's detailed bibliography, thorough index, and glossary. VERDICT Libraries with funds and space for only one modern art book should buy this one; libraries with previous editions should keep them and shelve this update. An ideal primer on modern art.—Nancy J. Mactague, Aurora Univ. Lib., IL
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Product Details

  • ISBN-13: 9780205673674
  • Publisher: Pearson
  • Publication date: 8/17/2009
  • Series: MySearchLab Series 15% Off Series
  • Edition description: New Edition
  • Edition number: 6
  • Pages: 848
  • Product dimensions: 9.10 (w) x 11.60 (h) x 1.90 (d)

Meet the Author

Elizabeth C. Mansfield is Associate Professor of art history at New York University. A scholar of modern European art and art historiography, her publications include books and articles on topics ranging from the origins of modernism to Picasso’s Demoiselles d’Avignon to the contemporary performance and body art of Orlan. A fellow at the National Humanities Center in 2008-09, she received the College Art Association’s Charles Rufus Morey book award in 2008 for Too Beautiful to Picture: Zeus, Myth, and Mimesis. (http://arthistory.as.nyu.edu/object/ElizabethMansfield.html)

The late H.H. Arnason was a distinguished art historian, educator, and museum administrator who for many years was Vice President for Art Administration of the Solomon Guggenheim Museum in New York. He began his professional life in academia, teaching at Northwestern University, University of Chicago, and the University of Hawaii. From 1947 to 1961, Arnason was Professor and Chairman of the Department of Art at the University of Minnesota.

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Table of Contents

Foreword: A Short History of History of Modern Art

The Art of Looking

Experience and Interpretation

A Book That Moves with the Times


What’s New: Chapter-by-chapter revisions

1: The Origins of Modern Art

SOURCE: Théophile Gautier, preface to Mademoiselle de Maupin (1835)

Making Art and Artists: The Role of the Critic

A Marketplace for Art

CONTEXT: Modernity and Modernism the Modern Artist

What Does It Mean to Be an Artist?: From Academic

Emulation toward Romantic Originality

Making Sense of a Turbulent World: The Legacy of Neoclassicism and Romanticism

TECHNIQUE: Printmaking Techniques

History Painting

Landscape Painting

2: The Search for Truth: Early Photography, Realism, and Impressionism

New Ways of Seeing: Photography and its Influence

TECHNIQUE: Daguerreotype versus Calotype

Only the Truth: Realism



Seizing the Moment: Impressionism and the Avant-Garde

Manet and Whistler

From Realism to Impressionism

Nineteenth-Century Art in the United States

Early American Artists and the Hudson River School

New Styles and Techniques in Later Nineteenth-

SOURCE: Charles Baudelaire, from his “Salon of 1859”

Century American Art

3: Post-Impressionism

The Poetic Science of Color: Seurat and the Neo-Impressionists

Form and Nature: Paul Cézanne

Early Career and Relation to Impressionism

Later Career

The Triumph of Imagination: Symbolism

Reverie and Representation: Moreau, Puvis, and Redon

The Naive Art of Henri Rousseau

An Art Reborn: Rodin and Sculpture at the Fin-de-Siècle

Early Career and The Gates of Hell

The Burghers of Calais and Later Career

Exploring New Possibilities: Claudel and Rosso

Primitivism and the Avant-Garde: Gauguin and Van Gogh


SOURCE: Paul Gauguin, from Noa Noa (1893)

Van Gogh

SOURCE: Vincent van Gogh, from a letter to his brother Theo van Gogh, 6 August 1888

A New Generation of Prophets: The Nabis

Vuillard and Bonnard

Montmartre: At Home with the Avant-Garde

4: The Origins of Modern Architecture and Design

Safeguarding Culture: Revivalist Tendencies in Nineteenth-Century Architecture

American Classicism

European Eclecticism

“A Return to Simplicity”: The Arts and Crafts Movement and Experimental Architecture

Experiments in Synthesis: Modernism beside the Hearth

Palaces of Iron and Glass: The Influence of Industry

SOURCE: Joris-Karl Huysmans, from the review Le Fer, 1889

“Form Follows Function”: The Chicago School and the

Origins of the Skyscraper

SOURCE: Louis Sullivan, “The Tall Office Building Artistically Considered,” 1896

5: Art Nouveau and the Beginnings of Expressionism

With Beauty at the Reins of Industry: Aestheticism and Art Nouveau

Natural Forms for the Machine Age: The Art Nouveau


Painting and Graphic Art

SOURCE: Sigmund Freud, from The Interpretation of Dreams, 1899

Architecture and Design

Toward Expressionism: Late Nineteenth-Century Avant-Garde Painting beyond France


Northern and Central Europe

6: The New Century: Experiments in Color and Form


“Purity of Means” in Practice: Henri Matisse’s Early Career

Earliest Works

Matisse’s Fauve Period

SOURCE: Charles Baudelaire, Invitation to the Voyage, 1857

The Influence of African Art

“Wild Beasts” Tamed: Derain, Vlaminck, and Dufy

Religious Art for a Modern Age: Georges Rouault

The Belle Époque on Film: the Lumière Brothers and Lartigue

CONTEXT: Early Motion Pictures

Modernism on a Grand Scale: Matisse’s Art after Fauvism

Forms of the Essential: Constantin Brancusi

7: Expressionism in Germany

From Romanticism to Expressionism: Corinth and Modersohn-Becker

SOURCE: Paula Modersohn-Becker, Letters and journal

Spanning the Divide between Romanticism and Expressionism: Die Brücke


TECHNIQUE: Woodcuts and Woodblock Prints


Heckel, Müller, Pechstein, and Schmidt-Rottluff

Die Brücke’s Collapse

The Spiritual Dimension: Der Blaue Reiter









Expressionist Sculpture

Self-Examination: Expressionism in Austria



CONTEXT: The German Empire

8: Cubism

Immersed in Tradition: Picasso’s Early Career

Barcelona and Madrid

Blue and Rose Periods

CONTEXT: Women as Patrons of the Avant-Garde

Les Demoiselles d’Avignon

Beyond Fauvism: Braque’s Early Career

“Two Mountain Climbers Roped Together”: Braque, Picasso, and the Development of Cubism

“Analytic Cubism,” 1909–11

“Synthetic Cubism,” 1912–14


Constructed Spaces: Cubist Sculpture

Braque and Picasso





An Adaptable Idiom: Developments in Cubist Painting in Paris


Gleizes and Metzinger


Other Agendas: Orphism and Other Experimental Art in Paris, 1910–14


9: Early Twentieth-Century Architecture

Modernism in Harmony with Nature: Frank Lloyd


Early Houses

The Larkin Building

Mid-Career Crisis

Temples for the Modern City: American Classicism 1900–15

New Simplicity Versus Art Nouveau: Vienna Before World War I

Tradition and Innovation: The German Contribution to Modern Architecture

Behrens and Industrial Design

CONTEXT: The Human Machine: Modern Workspaces

Expressionism in Architecture

Toward the International Style: The Netherlands and Belgium

Berlage and Van de Velde

New Materials, New Visions: France in the Early

Twentieth Century

TECHNIQUE: Modern Materials

10: European Responses to Cubism

Fantasy Through Abstraction: Chagall and the Metaphysical School


De Chirico and the Metaphysical School

“Running on Shrapnel”: Futurism in Italy

SOURCE: Filippo Tommaso Marinetti, from The Founding and Manifesto of Futurism







”Our Vortex is Not Afraid:” Wyndham Lewis and Vorticism

CONTEXT: The Omega Workshops

A World Ready for Change: The Avant-Garde in Russia

Larionov, Goncharova, and Rayonism

Popova and Cubo-Futurism

Malevich and Suprematism

El Lissitzky’s Prouns

TECHNIQUE: Axonometry

Kandinsky in the Early Soviet Period

Utopian Visions: Russian Constructivism

Innovations in Sculpture



Stepanova and Rozanova

Pevsner, Gabo, and the Spread of Constructivism

11: Picturing the Wasteland: Western Europe during World War I

CONTEXT: The Art of Facial Prosthetics

The World Turned Upside Down: The Birth of Dada

The Cabaret Voltaire and Its Legacy


“Her Plumbing and Her Bridges”: Dada Comes to America

Duchamp’s Early Career

SOURCE: Anonymous (Marcel Duchamp), “The Richard Mutt Case”

Duchamp’s Later Career


Man Ray and the American Avant-Garde

“Art is Dead”: Dada in Germany

Hausmann, Höch, and Heartfield



Idealism and Disgust: The “New Objectivity” in Germany



The Photography of Sander and Renger-Patzsch Beckmann

CONTEXT: Degenerate Art

12: Art in France after World War I

Eloquent Figuration: Les Maudits




Dedication to Color: Matisse’s Later Career

Response to Cubism, 1914–16

Renewal of Coloristic Idiom, 1917–c. 1930

An Art of Essentials, c. 1930–54

CONTEXT: Matisse in Merion, Pennsylvania

Celebrating the Good Life: Dufy’s Later Career

Eclectic Mastery: Picasso’s Career after the War

Parade and Theatrical Themes

CONTEXT: Diaghilev’s Ballets Russes

Postwar Classicism

Cubism Continued

Sensuous Analysis: Braque’s Later Career

Austerity and Elegance: Léger, Le Corbusier, and Ozenfant

13: Clarity, Certainty, and Order: de Stijl and the Pursuit of Geometric Abstraction

The de Stijl Idea

SOURCE: De Stijl “Manifesto 1” (1918, published in de Stijl in 1922)

Mondrian: Seeking the Spiritual Through the Rational

Early Work


The Break with de Stijl

Van Doesburg, de Stijl, and Elementarism

De Stijl Realized: Sculpture and Architecture


Van ’t Hoff and Oud


Van Eesteren

14: Bauhaus and the Teaching of Modernism

Audacious Lightness: The Architecture of Gropius

The Building as Entity: The Bauhaus

SOURCE: Walter Gropius, from Bauhaus Manifesto (1919)

Bauhaus Dessau

The Vorkurs: Basis of the Bauhaus Curriculum


Josef Albers



Die Werkmeistern: Craft Masters at the Bauhaus



Breuer and Bayer

TECHNIQUE: Industry into Art into Industry

“The Core from which Everything Emanates”: International Constructivism and the Bauhaus




From Bauhaus Dessau to Bauhaus U.S.A.

Mies van der Rohe

Bauhaus U.S.A.

15: Surrealism and Its Discontents

CONTEXT: Fetishism

Breton and the Background to Surrealism

The Two Strands of Surrealism

Political Context and Membership

CONTEXT: Trotsky and International Socialism between the Wars

“Art is a Fruit”: Arp’s Later Career

Hybrid Menageries: Ernst’s Surrealist Techniques

“Night, Music, and Stars”: Miró and Organic—Abstract


Methodical Anarchy: André Masson

Enigmatic Landscapes: Tanguy and Dalí


SOURCE: Georges Bataille, from The Cruel Practice of Art (1949)

Surrealism beyond France and Spain: Magritte, Delvaux, Bellmer, Matta, and Lam

Matta and Lam

Women and Surrealism: Oppenheim, Cahun, Tanning, and Carrington

Never Quite “One of Ours”: Picasso and Surrealism

Painting and Graphic Art, mid-1920s to 1930s

Guernicaand Related Works

Sculpture, late 1920s to 1940s

Pioneer of a New Iron Age: Julio González

Surrealism’s Sculptural Language: Giacometti’s Early Career

Surrealist Sculpture in Britain: Moore

Bizarre Juxtapositions: Photography and Surrealism

Atget’s Paris

Man Ray, Kertész, Tabard, and the Manipulated Image

The Development of Photojournalism: Brassaï, Bravo, Model, and Cartier-Bresson

An English Perspective: Brandt

16: American Art Before World War II

America Undisguised: The Eight and Social Criticism

Henri, Sloan, Prendergast, and Bellows

SOURCE: Walt Whitman, first stanza of Crossing Brooklyn Ferry (1856)

Two Photographers: Riis and Hine Brooks

A Rallying Place for Modernism: 291 Gallery and the

Stieglitz Circle

Stieglitz and Steichen

TECHNIQUE: Style through Medium, Photogravure and Gelatin-Silver Prints

Weber, Hartley, Marin, and Dove


Straight Photography: Strand, Cunningham, and Adams

Coming to America: The Armory Show

Sharpening the Focus on Color and Form: Synchromism and Precisionism



The Harlem Renaissance

Painting the American Scene: Regionalists and Social


Benton, Wood, Hopper

Grandma Moses and Horace Pippin

Bishop, Shahn and Blume

CONTEXT: The Sacco and Vanzetti Trial

Documents of an Era: American Photographers Between the Wars

Social Protest and Personal Pain: Mexican Artists






Modotti’s Photography in Mexico

The Avant-Garde Advances: Toward American Abstract Art

Exhibitions and Contact with Europe


Diller and Pereira

Avery and Tack

Sculpture in America Between the Wars

Lachaise and Nadelman

Storrs and Roszak


17: Abstract Expressionism and the New American Sculpture

CONTEXT: Artists and Cultural Activism

Mondrian in New York: The Tempo of the Metropolis

Entering a New Arena: Modes of Abstract Expressionism

SOURCE: Clement Greenberg, from Modernist Painting (first published in 1960)

The Picture as Event: Experiments in Gestural Painting



Willem de Kooning


SOURCE: Harold Rosenberg, from The American Action Painters (first published in 1952)



Tomlin and Tobey


Elaine de Kooning and Grace Hartigan

Complex Simplicities: Color Field Painting








Drawing in Steel: Constructed Sculpture

Smith and Dehner

Di Suvero and Chamberlain

Textures of the Surreal: Biomorphic Sculpture and Assemblage





Expressive Vision: Developments in American Photography

Capa and Miller

White, Siskind, Porter, and Callahan

Levitt and DeCarava

18: Postwar European Art

CONTEXT: Samuel Beckett and the Theatre of the Absurd

Revaluations and Violations: Figurative Art in France






A Different Art: Abstraction in France

Fautrier, Van Velde, Hartung, and Soulages

Wols, Mathieu, Riopelle, and Vieira da Silva

De Staël

“Pure Creation”: Concrete Art

Bill and Lohse

Postwar Juxtapositions: Figuration and Abstraction in Italy and Spain


Marini and Manzù



SOURCE: Lucio Fontana, from The White Manifesto (1946)



“Forget It and Start Again”: The CoBrA Artists and Hundertwasser





Figures in the Landscape: British Painting and Sculpture






Marvels of Daily Life: European Photographers




19: Nouveau Réalisme and Pop Art

CONTEXT: The Marshall Plan and the “Marilyn Monroe Doctrine”

“Extroversion is the Rule”: Europe’s New Realism


Tinguely and Saint-Phalle




Christo and Jeanne-Claude

Rotella, Manzoni and Broodthaers

“This is Tomorrow”: Pop Art in Britain

Hamilton and Paolozzi

Blake and Kitaj


Signs of the Times: Pop Art in the United States



Getting Closer to Life: Happenings and Environments

Kaprow, Grooms, and Early Happenings



“Just Look at the Surface”: The Imagery of Everyday Life


Samaras and Artschwager




TECHNIQUE: Screenprinting

Rosenquist, Wesselmann, and Indiana Lindner, Marisol, Sister Corita

Poetics of the “New Gomorrah”: West Coast Artists






Personal Documentaries: The Snapshot Aesthetic in

American Photography

20: Playing by the Rules: Sixties Abstraction

Drawing the Veil: Post Painterly Abstraction

SOURCE: Clement Greenberg, from Post Painterly Abstraction (1964)

Francis and Mitchell

Frankenthaler, Louis, and Olitski


At an Oblique Angle: Diebenkorn and Twombly

Forming the Unit: Hard-Edge Painting

Seeing Things: Op Art


Riley and Anuszkiewicz

New Media Mobilized: Motion and Light

Mobiles and Kinetic Art

Artists Working with Light

The Limits of Modernism: Minimalism



Smith, Judd, Bladen, and Morris

SOURCE: Tony Smith, from a 1966 Interview in Artforum

LeWitt, Andre, and Serra

TECHNIQUE: Minimalist Materials: Cor-Ten Steel

Minimalist Painters

Complex Unities: Photography and Minimalism

21: Modernism in Architecture at Mid-Century

“The Quiet Unbroken Wave”: The Later Work of Wright and Le Corbusier

Wright During the 1930s

Le Corbusier

Purity and Proportion: The International Style in America

The Influence of Gropius and Mies van der Rohe


Domestic Architecture

Internationalism Contextualized: Developments in Europe, Latin America, Asia, and Australia


Great Britain


Germany and Italy

Latin America, Australia, and Japan

Breaking the Mold: Experimental Housing

CONTEXT: Women in Architecture

Arenas for Innovation: Major Public Projects

Cultural Centers, Theaters, and Museums in America

Urban Planning and Airports

Architecture and Engineering

TECHNIQUE: The Dymaxion House

22: Conceptualism and Activist Art

Art as Language

Art & Language, Kosuth

CONTEXT: Semiotics

Weiner, Huebler, Barry

Keeping Time: Baldessari, Kawara, Darboven

Conceptual Art as Cultural Critique

Haacke, Asher

Lawler, Wilson


Extended Arenas: Performance Art and Video


CONTEXT: The Situationists


The Medium Is the Message: Early Video Art



Campus’ Video Art

When Art Becomes Artist: Body Art

Schneemann, Wilke




Gilbert and George, Anderson, and Horn

Radical Alternatives: Feminist Art

The Feminist Arts Program

Erasing the Boundaries between Art and Life: Later

Feminist Art


Guerrilla Girls


Invisible to Visible: Art and Racial Politics


Ringgold and Folk Traditions

Social and Political Critique: Hammons, Colescott

The Concept of Race: Piper

23: Post-Minimalism

Big Outdoors: Earthworks and Land Art

CONTEXT: Environmentalism

Monumental Works

SOURCE: Robert Smithson, from “Cultural Confinement,” originally published in Artforum (1972)

Landscape as Experience

Abakanowicz’s Site-Specific Sculpture

Visible Statements: Monuments and Public Sculpture

Metaphors for Life: Process Art

Arte Povera: Merz, Kounellis

Body of Evidence: Figurative Art

Traditional Realism


Hanson’s Superrealist Sculpture

Stylized Naturalism

Animated Surfaces: Pattern and Decoration

Figure and Ambiguity: New Image Art

Rothenberg and Moskowitz

Sultan and Jenney

Borofsky and Bartlett

Chicago Imagists: Nutt and Paschke


New Image Sculptors: Shapiro and Flanagan

24: Postmodernism

CONTEXT: Poststructuralism

Postmodernism in Architecture

“Complexity and Contradiction”: The Reaction Against

Modernism Sets In

SOURCE: Robert Venturi, Denise Scott Brown, and Steven Izenour, from Learning from Las Vegas (1972)

In Praise of “Messy Vitality”: Postmodernist Eclecticism

Venturi, Rauch, and Scott Brown, and Moore

Hollein, Stern, and Isozaki

Ironic Grandeur: Postmodern Architecture and History


Stirling, Jahn, Armajani, and Foster

Pei and Freed

Ando and Pelli

What Is a Building?: Deconstruction

CONTEXT: Deconstruction versus Deconstructivism

Structure as Metaphor: Architectural Abstractions

Flexible Spaces: Architecture and Urbanism

Plater-Zyberk and Duany

Koolhaas and the OMA

Postmodern Practices: Breaking Art History

Appropriation: Kruger, Levine, Prince, and Sherman


Holzer, McCollum, and Tansey

25: Painting through History

Primal Passions: Neo-Expressionism

German Neo-Expressionism: Baselitz, Lüpertz, Penck, and Immendorff

Polke, Richter, and Kiefer

SOURCE: Gerhard Richter, from “Notes 1964—1965”

Italian Neo-Expressionism: Clemente, Chia, and Cucchi

TECHNIQUE: Choosing Media

American Neo-Expressionism: Schnabel, Salle, and Fischl

Regarding Representation: Painting and Photography in the 1980s


The Starns

Gilbert and George

Searing Statements: Painting as Social Conscience

Golub and Spero

Coe and Applebroog

In the Empire of Signs: Neo-Geo

Neo-Geo Abstraction: Halley and Bleckner

The Sum of Many Parts: Abstraction in the 1980s





Wall of Fame: Graffiti and Cartoon Artists

Haring, Basquiat

Wojnarowicz and Wong

Rollins and KOS

Painting Art History

Currin, Yuskavage

26: Contemporary Art and the Renegotiation of Modernism

CONTEXT: National Endowment for the Arts

CONTEXT: International Art Exhibitions

Commodity Art

Postmodern Arenas: Installation Art

CoLab, Ahearn, Osorio



Strangely Familiar: British and American Sculpture

Reprise and Reinterpretation: Art History as Art

Meeting Points: Exploring a Postmodern Abstraction

27: Contemporary Art and Globalization

CONTEXT: Modern Art Exhibitions and Postcolonialism

Lines That Define Us: Locating and Crossing Borders

Art and the Expression of Culture

Growing into Identity

Identity as Place

Skin Deep: Identity and the Body

Body as Self

Filming the Body

The Absent Body

The Art of Biography

Globalization and Arts Institutions

Interventions in the Global Museum

Designing a Global Museum

CONTEXT: Avant-tainment

CONTEXT: Pritzker Prize



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