Introduction |
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1 | (2) |
Introductory Texts |
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3 | (2) |
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5 | (6) |
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Historical Interpretation |
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11 | (6) |
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Section One Modern Life, Modernite and Modernism |
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The Salon of 1846: On the Heroism of Modern Life |
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17 | (2) |
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The Salon of 1859: The Modern Public and Photography |
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19 | (4) |
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The Painter of Modern Life |
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23 | (6) |
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29 | (10) |
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The Impressionists and Edouard Manet |
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39 | (6) |
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`L'Exposition des Independants' in 1880 |
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45 | (6) |
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From Gauguin and Van Gogh to Classicism |
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51 | (6) |
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57 | (10) |
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Section Two The Development of Modernism |
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67 | (8) |
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75 | (4) |
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79 | (10) |
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The French Post-Impressionists |
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89 | (4) |
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93 | (12) |
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105 | (4) |
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109 | (6) |
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115 | (8) |
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What is Revolutionary Art? |
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123 | (6) |
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129 | (6) |
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Section Three Abstraction |
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From the Easel to the Machine |
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135 | (8) |
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On Non-Objective Painting |
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143 | (2) |
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The Beauty of Non-Objectivity |
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145 | (4) |
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Illusion and Visual Deadlock |
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149 | (10) |
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Section Four Expressionism |
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159 | (12) |
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Abstraction and Mysticism |
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171 | (6) |
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Expression and Communication |
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177 | (14) |
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191 | (14) |
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Section Five Art and Society |
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The Development of Modern Art |
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205 | (4) |
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Literature and Revolution |
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209 | (4) |
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213 | (4) |
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The Work of Art in the Age of Mechanical Reproduction |
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217 | (4) |
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221 | (6) |
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227 | (6) |
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The Sociological Approach: The Concept of Ideology in the History of Art |
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233 | (6) |
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239 | (4) |
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Art History and Class Struggle |
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243 | (6) |
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On the Social History of Art |
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249 | (10) |
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Preliminaries to a Possible Treatment of Olympia in 1865 |
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259 | (16) |
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The Laundress in Late Nineteenth-century French Culture |
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275 | (10) |
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Les Donnees Bretonnantes: La Prairie de la Representation |
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285 | (20) |
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Index |
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305 | |