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Painting, Politics and the Struggle for the Ecole de Paris, 1944–1964
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Painting, Politics and the Struggle for the Ecole de Paris, 1944–1964

Book Details

Format Paperback / Softback
ISBN-10 1138253456
ISBN-13 9781138253452
Publisher Taylor & Francis Ltd
Imprint Routledge
Country of Manufacture GB
Country of Publication GB
Publication Date Oct 3rd, 2016
Print length 330 Pages
Weight 508 grams
Dimensions 19.10 x 23.40 x 2.50 cms
Ksh 10,800.00
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By thoroughly mining the extensive resources of the newspaper and art journal press, gallery and government archives, artists'' writings and interviews with surviving artists and art critics, Natalie Adamson traces the artists, exhibitions, and art critical debates that made the École de Paris a zone of aesthetic and political conflict. This study presents a wholly new perspective on the vexed relationships between painting, politics, and national identity in postwar France.
Painting, Politics and the Struggle for the École de Paris, 1944-1964 is the first book dedicated to the postwar or ''nouvelle'' École de Paris. It challenges the customary relegation of the École de Paris to the footnotes, not by arguing for some hitherto ''hidden'' merit for the art and ideas associated with this school, but by establishing how and why the École de Paris was a highly significant vehicle for artistic and political debate. The book presents a sustained historical study of how this ''school'' was constituted by the paintings of a diverse group of artists, by the combative field of art criticism, and by the curatorial policies of galleries and state exhibitions. By thoroughly mining the extensive resources of the newspaper and art journal press, gallery and government archives, artists'' writings and interviews with surviving artists and art critics, the book traces the artists, exhibitions, and art critical debates that made the École de Paris a zone of aesthetic and political conflict. Through setting the École de Paris into its artistic, social, and political context, Natalie Adamson demonstrates how it functioned as the defining force in French postwar art in its defence of the tradition of easel painting, as well as an international point of reference for the expansion of modernism. In doing so, she presents a wholly new perspective on the vexed relationships between painting, politics, and national identity in France during the two decades following World War II.

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