Collecting Objects / Excluding People: Chinese Subjects and American Visual Culture, 1830-1900

SUNY Press
Free sample

Combining aesthetic and political history, explores the influence of Chinese people and objects on American visual culture.

In Collecting Objects / Excluding People, Lenore Metrick-Chen demonstrates an unknown impact of Chinese immigration upon nineteenth-century American art and visual culture. The American ideas of “Chineseness” ranged from a negative portrayal to an admiring one and these varied images had an effect on museum art collections and advertising images. They brought new ideas into American art theory, anticipating twentieth-century Modernism. Metrick-Chen shows that efforts to construct a cultural democracy led to the creation of unforeseen new categories for visual objects and unanticipated social changes. Collecting Objects / Excluding People reveals the power of images upon culture, the influence of media representation upon the lives of Chinese immigrants, and the impact of political ideology upon the definition of art itself. 

Read more

About the author

Lenore Metrick-Chen is Associate Professor of Art History at Drake University.

Read more
Loading...

Additional Information

Publisher
SUNY Press
Read more
Published on
Sep 25, 2012
Read more
Pages
294
Read more
ISBN
9781438443270
Read more
Language
English
Read more
Genres
Art / Asian
Art / History / Modern (late 19th Century to 1945)
Art / Museum Studies
History / Americas (North, Central, South, West Indies)
Read more
Content Protection
This content is DRM protected.
Read more
Read Aloud
Available on Android devices
Read more
Eligible for Family Library

Reading information

Smartphones and Tablets

Install the Google Play Books app for Android and iPad/iPhone. It syncs automatically with your account and allows you to read online or offline wherever you are.

Laptops and Computers

You can read books purchased on Google Play using your computer's web browser.

eReaders and other devices

To read on e-ink devices like the Sony eReader or Barnes & Noble Nook, you'll need to download a file and transfer it to your device. Please follow the detailed Help center instructions to transfer the files to supported eReaders.
The spellbinding story, part fairy tale, part suspense, of Gustav Klimt’s Portrait of Adele Bloch-Bauer, one of the most emblematic portraits of its time; of the beautiful, seductive Viennese Jewish salon hostess who sat for it; the notorious artist who painted it; the now vanished turn-of-the-century Vienna that shaped it; and the strange twisted fate that befell it.
 
The Lady in Gold, considered an unforgettable masterpiece, one of the twentieth century’s most recognizable paintings, made headlines all over the world when Ronald Lauder bought it for $135 million a century after Klimt, the most famous Austrian painter of his time, completed the society portrait.
 
Anne-Marie O’Connor, writer for The Washington Post, formerly of the Los Angeles Times, tells the galvanizing story of the Lady in Gold, Adele Bloch-Bauer, a dazzling Viennese Jewish society figure; daughter of the head of one of the largest banks in the Hapsburg Empire, head of the Oriental Railway, whose Orient Express went from Berlin to Constantinople; wife of Ferdinand Bauer, sugar-beet baron.
 
The Bloch-Bauers were art patrons, and Adele herself was considered a rebel of fin de siècle Vienna (she wanted to be educated, a notion considered “degenerate” in a society that believed women being out in the world went against their feminine “nature”). The author describes how Adele inspired the portrait and how Klimt made more than a hundred sketches of her—simple pencil drawings on thin manila paper.
 
And O’Connor writes of Klimt himself, son of a failed gold engraver, shunned by arts bureaucrats, called an artistic heretic in his time, a genius in ours.
 
She writes of the Nazis confiscating the portrait of Adele from the Bloch-Bauers’ grand palais; of the Austrian government putting the painting on display, stripping Adele’s Jewish surname from it so that no clues to her identity (nor any hint of her Jewish origins) would be revealed. Nazi officials called the painting, The Lady in Gold and proudly exhibited it in Vienna’s Baroque Belvedere Palace, consecrated in the 1930s as a Nazi institution.
 
The author writes of the painting, inspired by the Byzantine mosaics Klimt had studied in Italy, with their exotic symbols and swirls, the subject an idol in a golden shrine.
 
We see how, sixty years after it was stolen by the Nazis, the Portrait of Adele Bloch-Bauer became the subject of a decade-long litigation between the Austrian government and the Bloch-Bauer heirs, how and why the U.S. Supreme Court became involved in the case, and how the Court’s decision had profound ramifications in the art world.
 
A riveting social history; an illuminating and haunting look at turn-of-the-century Vienna; a brilliant portrait of the evolution of a painter; a masterfully told tale of suspense. And at the heart of it, the Lady in Gold—the shimmering painting, and its equally irresistible subject, the fate of each forever intertwined.
Pulitzer Prize–winning art critic Sebastian Smee tells the fascinating story of four pairs of artists—Manet and Degas, Picasso and Matisse, Pollock and de Kooning, Freud and Bacon—whose fraught, competitive friendships spurred them to new creative heights.

Rivalry is at the heart of some of the most famous and fruitful relationships in history. The Art of Rivalry follows eight celebrated artists, each linked to a counterpart by friendship, admiration, envy, and ambition. All eight are household names today. But to achieve what they did, each needed the influence of a contemporary—one who was equally ambitious but possessed sharply contrasting strengths and weaknesses.

Edouard Manet and Edgar Degas were close associates whose personal bond frayed after Degas painted a portrait of Manet and his wife. Henri Matisse and Pablo Picasso swapped paintings, ideas, and influences as they jostled for the support of collectors like Leo and Gertrude Stein and vied for the leadership of a new avant-garde. Jackson Pollock’s uninhibited style of “action painting” triggered a breakthrough in the work of his older rival, Willem de Kooning. After Pollock’s sudden death in a car crash, de Kooning assumed Pollock's mantle and became romantically involved with his late friend’s mistress. Lucian Freud and Francis Bacon met in the early 1950s, when Bacon was being hailed as Britain’s most exciting new painter and Freud was working in relative obscurity. Their intense but asymmetrical friendship came to a head when Freud painted a portrait of Bacon, which was later stolen.

Each of these relationships culminated in an early flashpoint, a rupture in a budding intimacy that was both a betrayal and a trigger for great innovation. Writing with the same exuberant wit and psychological insight that earned him a Pulitzer Prize for art criticism, Sebastian Smee explores here the way that coming into one’s own as an artist—finding one’s voice—almost always involves willfully breaking away from some intimate’s expectations of who you are or ought to be.

Praise for The Art of Rivalry

“Gripping . . . Mr. Smee’s skills as a critic are evident throughout. He is persuasive and vivid. . . . You leave this book both nourished and hungry for more about the art, its creators and patrons, and the relationships that seed the ground for moments spent at the canvas.”—The New York Times

“With novella-like detail and incisiveness [Sebastian Smee] opens up the worlds of four pairs of renowned artists. . . . Each of his portraits is a biographical gem. . . . The Art of Rivalry is a pure, informative delight, written with canny authority.”—The Boston Globe

“Bacon liked to say his portraiture aimed to capture ‘the pulsations of a person.’ Revealing these rare creators as the invaluable catalysts they also were, Smee conveys exactly that on page after page. . . . His brilliant group biography is one of a kind.”—The Atlantic

“Perceptive . . . Smee is onto something important. His book may bring us as close as we’ll ever get to understanding the connections between these bristly bonds and brilliance.”—The Christian Science Monitor

“In this intriguing work of art history and psychology, The Boston Globe’s art critic looks at the competitive friendships of Matisse and Picasso, Manet and Degas, Pollock and de Kooning, and Freud and Bacon. All four relationships illuminate the creative process—both its imaginative breakthroughs and its frustrating blocks.”—Newsday


From the Hardcover edition.
©2018 GoogleSite Terms of ServicePrivacyDevelopersArtistsAbout Google|Location: United StatesLanguage: English (United States)
By purchasing this item, you are transacting with Google Payments and agreeing to the Google Payments Terms of Service and Privacy Notice.