![]() ![]() Borrowing loosely from the French social historian, Pierre Bourdieu, this dissertation challenges the common interpretation of Cubism’s entry into the United States as a story of one-way influence and appropriation, substituting for that causative narrative several disjunct, yet mutually informing case studies. According to this study, American Cubism is no unified stylistic or aesthetic object rather, it constitutes a variable, ever-shifting complex of cultural concepts acted out among a social system. HB 160pp 310x220mm 100 colour illustrationsĪBSTRACT This dissertation examines the advent of American Cubism during the interwar period. Trade and international purchases should be made via our distributors. To buy a copy directly from us, please use the following link. Her books include The Colour of Time: Claude Monet, winner of the Mitchell Prize for Art History in 1993 and Orphism: The evolution of non-figurative painting in Paris 1910-1914. Virginia Spate is emeritus professor of art history at Sydney University. Her exhibitions include Léger et L’Esprit l’art non-objectif 1918-1931 (1982), abstraction-création 1931-1936 (1978), and Van Doesburg & the International Avant-Garde: Constructing a New World (2009). Gladys Fabre is an art historian and curator. Her books include: On looking at looking: The art and politics of Ian Burn (2006) and Modern Times: The untold story of modernism in Australia (2008), co-edited with Andrew McNamara and Philip Goad. Ann Stephen is an art historian and senior curator of the University Art Gallery at the University of Sydney. He lectures in the painting department at the National Art School, Sydney and studied at the University of Sydney, the Kunstakademie Düsseldorf and the Royal Danish Academy of Fine Arts, Copenhagen. Donaldson is an artist, curator and art historian. Power Abstraction-Création reveals how Power’s work illuminates the relationships between Sydney and Paris, and between France and Australia, an exchange that goes to the heart of Australia’s modernism. ![]() Virginia Spate examines Power’s creative process through the analysis of a single painting. In her essay, published in English here for the first time, art historian Gladys Fabre describes how this group was the focus for the international avant-garde moving through Paris in the 1930s. Crucially, he was a founding and long- term member of Abstraction-Création. There he studied with Pedro Araujo and Fernand Léger and showed with Léonce Rosenberg and Galerie Jeanne Bucher. His most significant contribution however was made in Paris. In the interwar years, Power moved between cities, immersing himself in both contemporary and historical art, this restlessness leading to his own unique painting: part- abstract surrealism, part-surreal abstraction. Stephen and Donaldson argue that Power is Australia’s most important avant-gardist of the early twentieth century. A long forgotten 1934 exhibition by the Australian expatriate JW Power at the Abstraction-Création gallery in Paris provides the key to understanding this most elusive artist.
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