{"product_id":"nothing-if-not-critical-isbn-9780140165241","title":"Nothing If Not Critical","description":"From Holbein to Hockney, from Norman Rockwell to Pablo Picasso, from sixteenth-century Rome to 1980s SoHo, Robert Hughes looks with love, loathing, warmth, wit and authority at a wide range of art and artists, good, bad, past and present.\u003cbr\u003e   As art critic for \u003ci\u003eTime\u003c\/i\u003e magazine, internationally acclaimed for his study of modern art, \u003ci\u003eThe Shock of the New\u003c\/i\u003e, he is perhaps America’s most widely read and admired writer on art.  In this book:  nearly a hundred of his finest essays on the subject.\u003cbr\u003e   For the realism of Thomas Eakins to the Soviet satirists Komar and Melamid, from Watteau to Willem de Kooning to Susan Rothenberg, here is Hughes—astute, vivid and uninhibited—on dozens of famous and not-so-famous artists.  He observes that Caravaggio was “one of the hinges of art history; there was art before him and art after him, and they were not the same”; he remarks that Julian Schnabel’s “work is to painting what Stallone’s is to acting”; he calls John Constable’s \u003ci\u003eWivenhoe Park \u003c\/i\u003e“almost the last word on Eden-as-Property”; he notes how “distorted traces of [Jackson] Pollock lie like genes in art-world careers that, one might have thought, had nothing to do with his.”  He knows how Norman Rockwell made a chicken stand still long enough to be painted, and what Degas said about success (some kinds are indistinguishable from panic).\u003cbr\u003e   Phrasemaker par excellence, Hughes is at the same time an incisive and profound critic, not only of particular artists, but also of the social context in which art exists and is traded.  His fresh perceptions of such figures as Andy Warhol and the French writer Jean Baudrillard are matched in brilliance by his pungent discussions of the art market—its inflated prices and reputations, its damage to the public domain of culture.  There is a superb essay on Bernard Berenson, and another on the strange, tangled case of the Mark Rothko estate.  And as a finale, Hughes gives us “The SoHoiad,” the mock-epic satire that so amused and annoyed the art world in the mid-1980s.\u003cbr\u003e   A meteor of a book that enlightens, startles, stimulates and entertains.Nothing If Not Critical - Robert Hughes       Introduction: The Decline of the City of Mahagonny\u003cbr\u003e\u003cb\u003ePart One: Ancestors\u003c\/b\u003e\u003cbr\u003eHans Holbein\u003cbr\u003eCaravaggio\u003cbr\u003eFrance in the Golden Age\u003cbr\u003eAnthony Van Dyck\u003cbr\u003eGeorge Stubbs\u003cbr\u003eSir Joshua Reynolds\u003cbr\u003eGoya\u003cbr\u003eZurbarán\u003cbr\u003eNicolas Poussin\u003cbr\u003eGuido Reni\u003cbr\u003eInigo Jones\u003cbr\u003eJean-Siméon Chardin\u003cbr\u003eJohn Constable\u003cbr\u003eAntoine Watteau\u003cbr\u003e\u003cb\u003ePart Two: Nineteenth Century\u003c\/b\u003e\u003cbr\u003eGerman Romanticism\u003cbr\u003eEdgar Degas\u003cbr\u003eCourbet in Brooklyn\u003cbr\u003eJohn Singer Sargent\u003cbr\u003eAugustus Saint-Gaudens\u003cbr\u003eWinslow Homer\u003cbr\u003eJames Whistler\u003cbr\u003ePre-Raphaelites\u003cbr\u003eCamille Pissarro\u003cbr\u003eThomas Eakins\u003cbr\u003e\u003cb\u003ePart Three: Into Modernism\u003c\/b\u003e\u003cbr\u003eToulouse-Lautrec\u003cbr\u003eAuguste Rodin\u003cbr\u003eVan Gogh and Cloisonnism\u003cbr\u003eÉdouard Manet\u003cbr\u003eHenri Rousseau\u003cbr\u003eVincent van Gogh, Part 1\u003cbr\u003eVincent van Gogh, Part 2\u003cbr\u003ePaul Gaugain\u003cbr\u003e\u003cb\u003ePart Four: Europeans\u003c\/b\u003e\u003cbr\u003eRené Magritte\u003cbr\u003eVasily Kandinsky\u003cbr\u003eGiorgio de Chirico\u003cbr\u003eJulio Gonzalez\u003cbr\u003eMax Beckmann\u003cbr\u003eHenri Matisse in Nice\u003cbr\u003eFuturism\u003cbr\u003eEnglish Art in the Twentieth Century\u003cbr\u003eOskar Kokoschka\u003cbr\u003eGiorgio Morandi\u003cbr\u003eLate Picasso\u003cbr\u003e\u003cb\u003ePart Five: Americans\u003c\/b\u003e\u003cbr\u003eThomas Hart Benton\u003cbr\u003eDeco and Fins\u003cbr\u003eMorris Louis\u003cbr\u003eDiego Rivera\u003cbr\u003eDavid Smith, Sculptures\u003cbr\u003eDavid Smith, Drawings\u003cbr\u003eLee Krasner\u003cbr\u003eMilton Avery\u003cbr\u003eJackson Pollock\u003cbr\u003eArshile Gorky\u003cbr\u003eJoseph Cornell\u003cbr\u003eEdward Hopper\u003cbr\u003eNorman Rockwell\u003cbr\u003eMark Rothko in Babylon\u003cbr\u003eAndy Warhol\u003cbr\u003e\u003cb\u003ePart Six: Contemporaries\u003c\/b\u003e\u003cbr\u003eSaul Steinberg\u003cbr\u003eJames Turrell\u003cbr\u003eR. B. Kitaj\u003cbr\u003eRoy Lichenstein\u003cbr\u003eNam June Paik\u003cbr\u003eRichard Diebenkorn\u003cbr\u003eKomar and Melamid\u003cbr\u003eHoward Hodgkin\u003cbr\u003eLouise Bourgeois\u003cbr\u003ePhilip Pearlstein\u003cbr\u003eRobert Motherwell\u003cbr\u003eSandro Chia\u003cbr\u003eMalcolm Morley\u003cbr\u003eJulian Schnabel\u003cbr\u003eJean-Michel Basquiat: Requiem for a Featherweight\u003cbr\u003eWillem de Kooning\u003cbr\u003eFrancis Bacon\u003cbr\u003eFrancesco Clemente\u003cbr\u003eJames Rosenquist\u003cbr\u003eAlex Katz\u003cbr\u003eSusan Rothenberg\u003cbr\u003eAnselm Kiefer\u003cbr\u003eElizabeth Murray\u003cbr\u003eDavid Hockney\u003cbr\u003eDonald Sultan\u003cbr\u003eLeon Kossoff\u003cbr\u003eEric Fischl\u003cbr\u003eSean Scully\u003cbr\u003eChristopher Wilmarth\u003cbr\u003eBernard Berenson\u003cbr\u003eTom Wolfe: \u003ci\u003eFrom Bauhaus to Our House\u003c\/i\u003e\u003cbr\u003eBrideshead Redecorated\u003cbr\u003eJean Baudrillard: \u003ci\u003eAmerica\u003c\/i\u003e\u003cbr\u003eArt and Money\u003cbr\u003eThe SoHoiad: or, The Masque of Art\u003cbr\u003eIndexROBERT HUGHES was born in Australia in 1938 and has lived in Europe and the United States since 1964.  Since 1970, he has been art critic for \u003ci\u003eTime\u003c\/i\u003e magazine.  He has twice won the College Art Association’s F.J. Mather Award for distinguished criticism.  His books include \u003ci\u003eThe Art of Australia\u003c\/i\u003e (1966)\u003ci\u003e, Heaven and Hell in Western Art\u003c\/i\u003e (1969)\u003ci\u003e, \u003c\/i\u003eand a chronicle of the settlement of Australia, \u003ci\u003eThe Fatal Shore\u003c\/i\u003e (1987).  His study of modern art,\u003ci\u003e The Shock of the New \u003c\/i\u003e(1981)\u003ci\u003e,\u003c\/i\u003e is being reissued in an updated edition simultaneously with the publication of\u003ci\u003e Nothing If Not Critical\u003c\/i\u003e, Mr. Hughes lives in Manhattan and on Long Island.","brand":"Penguin Books","offers":[{"title":"Default Title","offer_id":46301991698661,"sku":"NP9780140165241","price":24.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1842\/7735\/files\/9780140165241.jpg?v=1767733923","url":"https:\/\/k12savings.com\/products\/nothing-if-not-critical-isbn-9780140165241","provider":"K12savings","version":"1.0","type":"link"}