By Robert Hughes
From Holbein to Hockney, from Norman Rockwell to Pablo Picasso, from sixteenth-century Rome to Nineteen Eighties SoHo, Robert Hughes seems to be with love, loathing, heat, wit and authority at a variety of artwork and artists, solid, undesirable, earlier and present.
As artwork critic for Time
journal, across the world acclaimed for his learn of contemporary artwork, The surprise of the New
, he's possibly America’s most generally learn and favourite author on art. during this book: approximately 100 of his best essays at the subject.
For the realism of Thomas Eakins to the Soviet satirists Komar and Melamid, from Watteau to Willem de Kooning to Susan Rothenberg, here's Hughes—astute, vibrant and uninhibited—on dozens of well-known and not-so-famous artists. He observes that Caravaggio used to be “one of the hinges of paintings heritage; there has been paintings earlier than him and artwork after him, they usually weren't the same”; he comments that Julian Schnabel’s “work is to portray what Stallone’s is to acting”; he calls John Constable’s Wivenhoe Park
“almost the final word on Eden-as-Property”; he notes how “distorted strains of [Jackson] Pollock lie like genes in art-world careers that, one may need notion, had not anything to do with his.” He is aware how Norman Rockwell made a chook stand nonetheless lengthy adequate to be painted, and what Degas acknowledged approximately good fortune (some types are indistinguishable from panic).
Phrasemaker par excellence, Hughes is while an incisive and profound critic, not just of specific artists, but additionally of the social context during which artwork exists and is traded. His clean perceptions of such figures as Andy Warhol and the French author Jean Baudrillard are matched in brilliance via his stinky discussions of the paintings market—its inflated costs and reputations, its harm to the general public area of culture. there's a brilliant essay on Bernard Berenson, and one other at the unusual, tangled case of the Mark Rothko estate. And as a finale, Hughes provides us “The SoHoiad,” the mock-epic satire that so amused and pissed off the paintings global within the mid-1980s.
A meteor of a publication that enlightens, startles, stimulates and entertains.