Art in France, 1900–1940 (The Yale University Press Pelican History of Art Series)

Contents
Acknowledgements
Preface
PART ONE
ART MADE HISTORY
	Introduction
	1. Monuments to the Third Republic: The Great Exhibitions of 1900, 1923 and 1937
		Before and After 1900
		Before and After 1925
		Before and After 1937
		Art in France, 1900-40: French and Transatlantic Perspectives
	2. Modern Movements in France, 1900—40
		Making Fauvism
		Making Cubism
		Making Dada
		Making Surrealism
		Modern Movements and ‘Abstract Art’, 1912-40
		Avant-gardes, Dominant Values and Histories
PART TWO
LIVES IN ART
	Introduction
	3. Framing Lives
		Democracy, Diversity and Direction: Officials and Institutions
		Different Artists, Different Markets
		Fixing and Unfixing Categories: Painters, Sculptors and Others
		Poets and Professionals: Writing on Art
		Winning for Modernism: The Dealers and Collectors
	4. Celebrated Lives
		The Conditions of Success
		Crossing Boundaries: Foreign Artists in France, 1900-40
		Crossing Boundaries: Women Artists in France, 1900-40
		Being a Modern Master: Matisse and Picasso, Brancusi, Mondrian, Giacometti and Others
		Being Marcel Duchamp: A Singular Double Life
PART THREE
MAKING ART
	Introduction
	5. Representing Nature; Seeing Art
		Expression and Decoration: From ‘Art Nouveau’ Bing to Matisse
		Likeness and Deformation, Analysis and Synthesis: From Matisse into Cubism
		‘Pure Painting’ and the Table au-objet: Cubists, Orphists and Matisse as Cubist
		The Idea in the Work: Kupka and Mondrian
		Art and ‘Evolution’
	6. The Languages and Objects of Art
		Metamorphosis and the Semiotics of Cubism
		Metaphor and Metamorphosis: Surrealists and Cubists
		Allegory and Myth: From De Chirico to Guernica
		Words and Things: From Duchamp’s Large Glass to the ‘Surrealist Object’
		Art and ‘Revolution’
PART FOUR
REPRESENTING MODERNITY
	Introduction
	7. The Experience of Modernity and the ‘New Spirit’
		Representing Modern Ideas: Abstraction, Science and Bergsonism
		Representing Modern Experience: Photography and Painting, Futurists and Simultanists
		Representing War and Peace: Léger and the Purist ‘New Spirit’, 1913-28
		The Palais de la Découverte: Representing Science and Technology at the Exhibition of 1937
	8. Modern Spaces; Modern Objects; Modern People
		Domestic Modernity: From the Maison Cubiste to the Pavilion de l’Esprit Nouveau; from Collage to Léger’s Manufactured Objects
		Modernity and Gender: Working Women and Independent Women; Wives and Mothers
		Representing Modern Society: Class, Political Engagement and the ‘Realism’ Debate in the 1930s; Worlds of Work and Leisure
PART FIVE
HISTORY, TRADITION AND THE FRENCH NATION
	Introduction
	9. Modernism and the Re-invention of Tradition, 1900-18
		‘One must become classical again by way of nature’: From Denis and Maillol to Matisse
		The Challenge of Tradition: The Presence of the Past in the Work of the Cubists and of Derain, 1907-14
		Being Modern and Traditional in Wartime, 1914-18
	10. From Peace to Crisis: Traditions in Conflict, 1918-40
		France, Foreigners and ‘the Art of the Occident’
		The Unity in Diversity of France: The ‘Call to Order’ in Paris and the Regions, 1918-30
		‘Greater France’ at the 1931 Colonial Exhibition; Matisse and Orientalism
		The Cult of the Past, the ‘Ecole Française’ and the ‘Métèques’: Humanism and Xenophobia, 1924-40
		From Modern Master to Refugee: Chagall, 1938-41
PART SIX
RESISTING MODERNITY; RESISTING CIVILISATION
	Introduction
	11. Primitivising the Modern, 1900-18
		The ‘Naïve’, the ‘Sincere’ and the ‘Savage’ : From Rousseau in the ‘Cage des Fauves’ to the Demoiselles d’Avignon
		Being ‘Primitive’ in Early Twentieth-Century Paris: Henri Rousseau, ‘le Douanier’; Constantin Brancusi, ‘This Peasant from the Danube’
		Against Modernity, Against Logic: ‘Primitive Mentality’ and Bergsonian Intuition
	12. Counter-Cultural Art, 1918~40
		Change and Contradiction; The Provocations of Brancusi, Duchamp and Picabia
		Releasing Images: Surrealist Strategies of Liberation
		The World as Myth: Psychoanalysis and Other Surrealist Preoccupations
		De-civilising Culture: From Magic to Bassesse
		The Visual Art of Opposition: Picasso and Guernica, Surrealism and Politics, Collage and War
Notes
	PART ONE INTRODUCTION
	CHAPTER 1
	CHAPTER 2
	PART TWO INTRODUCTION
	CHAPTER 3
	CHAPTER 4
	PART THREE CHAPTER 5
	CHAPTER 6
	PART FOUR INTRODUCTION
	CHAPTER 7
	CHAPTER 8
	PART FIVE INTRODUCTION
	CHAPTER 9
	CHAPTER 10
	PART SIX INTRODUCTION
	CHAPTER 11
	CHAPTER 12
Select Bibliography
	BIBLIOGRAPHICAL NOTE
	I. GENERAL HISTORICAL MATERIAL
	II. SOURCE MATERIAL
		(A) Periodicals
		(B) Artists’ Statements, Writings and Correspondence; Contemporary Texts by Critics, Commentators and Historians; Memoirs
	III. SECONDARY MATERIAL: BOOKS, EXHIBITION CATALOGUES AND ARTICLES
Index
Photographic Acknowledgements