Word: europeanization
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Dates: during 1970-1979
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...hundreds of exhibitions put together by the curators of the Great American art boom (circa 1962-73), not one tried to give an account of what was being painted in Europe. The reason, as everyone "knew," was that European art no longer mattered. Paris was over; London, a village; only New York had a hammer lock on history. This eminently questionable belief, fathered by chauvinism and fed by the largest promotional apparatus in the history of art, lay at the root of American art politics in the '60s and formed the taste of a generation of museumgoers...
...course, impossible to find 16 artists who could represent the full range of style and preoccupation in European art, so Tuchman has restricted his choice mainly to figurative paintings by "loners"-artists who, for one reason or another, have not closely identified themselves with particular groups or movements. Some of the work is familiar to a U.S. audience: the sumptuous paranoia of Francis Bacon's images (TIME, April 7) basking like altarpieces behind their glittering shields of glass and gold leaf; the cool, infrangible poise of David Hockney's still lifes and portraits. Pierre Alechinsky, the Belgian painter...
...August the bank agreed to pump $30 million into the company in return for 150 million newly created shares of its stock-on condition that Clague give way to a bank-picked successor. That ultimatum prompted Clague to make a last-ditch effort to raise capital from European banks. He failed...
...literature and its workings. Hence the value of this extraordinary and moving book by Paul Fussell, a Rutgers University professor. There is, he argues, a peculiarly modern consciousness of war. It began in the trenches of France in 1914, and it has continued to affect writing ever since. Indeed, European culture-especially in England-was so affected by the Great War that modernism itself owes no small part of its existence to the trauma of the Western Front. "The dynamics and iconography of the Great War," Fussell claims, "have proved crucial political, rhetorical and artistic determinants ... At the same time...
...fault line had opened in history, and all that had been taken as normal vanished into its rumbling cleft. Total war of this kind was unknown to living memory in 1914. Gavrilo Princip's bullet in Sarajevo destroyed a peace so long and so continuous that every European had come to take it for granted, as a given part of the fabric of his or her life. Nobody in England, France or Germany, not even the generals, had any idea what trench warfare-the dominant reality of the Western Front-would be like. When it came, it was indefinable...