National Art Education Association

History of Modern Art, Painting, Sculpture, Architecture by H. H. ArnasonReview by: Arnold WesterlundArt Education, Vol. 22, No. 7 (Oct., 1969), p. 2Published by: National Art Education AssociationStable URL: http://www.jstor.org/stable/3191372 .

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book reviews: HISTORY OF MODERN ART, Painting, Sculpture, Architecture. H. H. Arnason. New York: Harry N. Abrams, Inc., 1968. 663 pp.

The History of Modern Art is a magnificent picture book of the contributions made by the painters, sculptors, and architects from the time of the impressionists down to the present. But, of course, it is more than that. The author includes at least a brief discussion of the periods and styles of all the important and some of the minor artists of this last 100 years or more. His range is so vast that to put it all together in one book is almost too great a task. Yet he does this quite admirably. How- ever, the great number of artists makes it impossible that any one be studied in too much depth.

The material is arranged in groups of painters, sculptors, and architects from each school or period so that one can com- pare the achievements of all three, making it possible more thoroughly to understand the era. In general Mr. Arnason makes no attempt to evaluate the achievement; the material is pre- sented objectively.

To make a contrast with modern art Mr. Arnason includes a "pre-history" in which he argues that David's art is "crucial in shaping attitudes that led ultimately to twentieth century abstract art." He believes that it was David's use of a perspective other than that of the Renaissance which brought about new attitudes toward ideas of line, contour, composition, atmosphere, illusionism, etc., which released the artist and set him free to experiment.

Whatever doubts might be felt concerning Mr. Arnason's argument, the materials as he presents them are wholly factual and objective, and can be seen to have played their role in later developments. The reader may be interested, bored, fasci- nated, or depressed by what he sees and reads, depending on his interest in the arts. The documentation is excellent, with nearly 1400 illustrations of painting, sculpture, and architecture spanning the more than 100 years of art. The arrangement of the reproductions has precedent in the volume of the "History of Art" by Jansqn, but there is a difference. The black and white pictures are close to the discussion of the artists, and those in color are a few pages ahead in a group for each school or period studied. Rather than a few colored reproductions, there are many, even of the same artist. These are not full page pictures as in Janson's book, but their apparent accuracy of color effect is so good the size doesn't matter. There are some contemporary sculptures in color, since their importance is partly owing to the coloring, but no architectural landmarks are reproduced in color. This is unfortunate, as so much of the excitement of modern architecture is in its color and textural effects. A color print showing the relation of sculpture, murals, and decoration to the scale of the architecture in the Lincoln Center, for in- stance, or a shot of the windows of N6tre Dame du Haut of Le Corbusier, would have added much to the appreciation of the role of painting or color to contemporary architecture.

There are a number of features of this book which recommend it as a reference: the great amount of material makes it possible to study the changes which have occurred in modern art all in one volume. As a beginning college text on the subject it would be excellent. Also, many formerly obscure (seemingly, too many) styles in art are included, making a valuable contri- bution to the field. One of these is the discussion of Art Nouveau; its origins and dissemination are well documented. The relation- ship of the sculpture of Matisse and Picasso is another area which is well covered. Much light is shed on the art of the 30's and early 40's. The fact that nonobjective art was practiced in France and other countries at a time when the United States showed little or no interest in it is interesting in the light of contemporary American art.

The book is a valuable addition to the literature of modern art. Even as a picture book it would be valuable because of its coverage, but with the fine plates and the comments of the author added to this, it should put many of the "isms" in proper perspective.

Arnold Westerlund Moscow, Idaho 2

Michael Cohen's footed ceramic vase is one of fifty-two works in "Objects Are?", a slide kit based on an exhibition at New York's Museum of Contemporary Crafts. You can rent this 35mm color slide kit for $5.20 or buy it for $52.00 from the Ameri- can Crafts Council. Write now for a full listing of kits and filmstrips on crafts to...

AMERICAN CRAFTS COUNCIL Dept. AE 29 West 53rd St., New York, N.Y. 10019

A VOYAGE TO EUROPE'S WONDERFUL

WORLD OF ART Tyler School of Art of Temple University 19th consecutive summer program July 3-Aug. 15, 1970 ... Six Credits

Visit 36 of the world's greatest galleries, museums, collections, see priceless art treasures in palaces and cathedrals, visit art schools, studios, listen to lectures, participate in seminars-in LONDON * AMSTERDAM * HAARLEM THE HAGUE * ANTWERP * GENT * BRUGES * BRUSSELS * AACHEN * COLOGNE * FRANKFURT * WUERZBURG * BAMBERG * NUREMBERG * MUNICH * VIENNA "* VENICE * PADUA * RAVENNA * URBINO "* GUBBIO * PERUGIA * ASSISI * ROME * ORVIETO * SIENA * FLORENCE * BOLOGNA * MODENA * PARMA MILAN * ITALIAN LAKES & SWISS ALPS * BASLE * COLMAR * STRASBOURG * PARIS

$1,168 for 44 days in Europe, London through Paris $532 more with TWA jets New York back to New York

Limited enrollment. Information from Director of Summer Sessions TEMPLE UNIVERSITY Philadelphia, Pa. 19122 - OR

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INTERNATIONAL HO EASTERN OFFICE P.O. 0OX 1505 250 WEST 57TH STREET ESCONI01O. CAL. 92025 NEW YORK. N.Y. 10019

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