![]() ![]() In 1961 Rivers was a renowned painter, and had been acclaimed by the most influential critics and supporters of abstract expressionism, such as Clement Greenberg and Harold Rosenberg. Momentum was all that Paris had going for it’. ‘The French capital’, Guilbaut writes, ‘was not strong enough, either economically or politically, to protest. The art historian Serge Guilbaut famously demonstrated, in his seminal book How New York Stole the Idea of Modern Art (1983), how abstract expressionism benefitted from the political and ideological conditions of the cold war to impose itself internationally in the late 1940s and early 1950s. ![]() In opposition to a discussion of the ‘triumph of American art’ (Irving Sandler) in terms of formal innovations and aesthetic superiority, 2 As early as 1940, in the midst of war and German occupation in France, the art critic Harold Rosenberg had declared ‘the Fall of Paris’ in favour of a newly active American art scene. By the early 1960s – so the traditional art historical discourse goes – New York had already long defeated Paris as the new world capital for avant-garde art. ![]()
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