The Shock of the New A beautifully illustrated hundred-year history of modern art, from cubism to pop and avant-guard. More than 250 color photos.
From the Trade Paperback edition.
I needed this for quite a while, it's simple to download and take with me to class. This is better then watching a 56 min video about it the words spoken in text when I can just skip to the good parts.
Robert Hughes From Robert Hughes, one of the greatest art and cultural critics of our time, comes a sprawling, comprehensive, and deeply personal history of Rome—as city, as empire, and, crucially, as an origin of Western art and civilization, two subjects about which Hughes has spent his life writing and thinking.
Starting on a personal note, Hughes takes us to the Rome he first encountered as a hungry twenty-one-year-old fresh from Australia in 1959. From that exhilarating portrait, he takes us back more than two thousand years to the city's foundation, one mired in mythologies and superstitions that would inform Rome's development for centuries.
From the beginning, Rome was a hotbed of power, overweening ambition, desire, political genius, and corruption. Hughes details the turbulent years that saw the formation of empire and the establishment of the sociopolitical system, along the way providing colorful portraits of all the major figures, both political (Julius Caesar, Marcus Aurelius, Nero, Caligula) and cultural (Cicero, Martial, Virgil), to name just a few. For almost a thousand years, Rome would remain the most politically important, richest, and largest city in the Western world.
From the formation of empire, Hughes moves on to the rise of early Christianity, his own antipathy toward religion providing rich and lively context for the brutality of the early Church, and eventually the Crusades. The brutality had the desired effect—the Church consolidated and outlasted the power of empire, and Rome would be the capital of the Papal States until its annexation into the newly united kingdom of Italy in 1870.
As one would expect, Hughes lavishes plenty of critical attention on the Renaissance, providing a full survey of the architecture, painting, and sculpture that blossomed in Rome over the course of the fourteenth through the sixteenth centuries, and shedding new light on old masters in the process. Having established itself as the artistic and spiritual center of the world, Rome in the seventeenth, eighteenth, and nineteenth centuries saw artists (and, eventually, wealthy tourists) from all over Europe converging on the bustling city, even while it was caught up in the nationalistic turmoils of the Italian independence struggle and war against France.
Hughes keeps the momentum going right into the twentieth century, when Rome witnessed the rise and fall of Italian Fascism and Mussolini, and took on yet another identity in the postwar years as the fashionable city of "La Dolce Vita." This is the Rome Hughes himself first encountered, and it's one he contends, perhaps controversially, has been lost in the half century since, as the cult of mass tourism has slowly ruined the dazzling city he loved so much. Equal parts idolizing, blasphemous, outraged, and awestruck, Rome is a portrait of the Eternal City as only Robert Hughes could paint it.
Robert Hughes In this bestselling account of the colonization of Australia, Robert Hughes explores how the convict transportation system created the country we know today.
Digging deep into the dark history of England's infamous efforts to move 160,000 men and women thousands of miles to the other side of the world in the eighteenth and nineteenth centuries, Hughes has crafted a groundbreaking, definitive account of the settling of Australia.
Tracing the European presence in Australia from early explorations through the rise and fall of the penal colonies, and featuring 16 pages of illustrations and 3 maps, The Fatal Shore brings to life the incredible true history of a country we thought we knew.
Robert Hughes Beginning with a vivid description of his wedding in the splendid medieval ceremonial chamber in Barcelona's city hall, Hughes launches into a lively account of the history, art, and architecture of the storied city. He tells of architectural treasures abounding in 14th-century Barcelona, establishing it as one of Europe's great Gothic cities, while Madrid was hardly more than a cluster of huts. The city spawned such great artists as Antoni Gaudi, Pablo Picasso, Joan Miro, Salvador Dali, and Pablo Casals. Hughes's deep knowledge of the city is evident—but it's his personal reflections of what Barcelona, its people, and its storied history and culture have meant to him over the decades that sets Barcelona the Great Enchantress apart from all others' books.
Robert Hughes A monumentally informed and irresistibly opinionated guide to the most un-Spanish city in Spain, from the bestselling author of The Fatal Shore.
In these pages, Robert Hughes scrolls through Barcelona's often violent history; tells the stories of its kings, poets, magnates, and revolutionaries; and ushers readers through municipal landmarks that range from Antoni Gaudi's sublimely surreal cathedral to a postmodern restaurant with a glass-walled urinal. The result is a work filled with the attributes of Barcelona itself: proportion, humor, and seny—the Catalan word for triumphant common sense.
Robert Hughes From Holbein to Hockney, from Norman Rockwell to Pablo Picasso, from sixteenth-century Rome to 1980s SoHo, Robert Hughes looks with love, loathing, warmth, wit and authority at a wide range of art and artists, good, bad, past and present. As art critic for Time magazine, internationally acclaimed for his study of modern art, The Shock of the New, he is perhaps America’s most widely read and admired writer on art. In this book: nearly a hundred of his finest essays on the subject. For the realism of Thomas Eakins to the Soviet satirists Komar and Melamid, from Watteau to Willem de Kooning to Susan Rothenberg, here is Hughes—astute, vivid and uninhibited—on dozens of famous and not-so-famous artists. He observes that Caravaggio was “one of the hinges of art history; there was art before him and art after him, and they were not the same”; he remarks that Julian Schnabel’s “work is to painting what Stallone’s is to acting”; he calls John Constable’s Wivenhoe Park “almost the last word on Eden-as-Property”; he notes how “distorted traces of [Jackson] Pollock lie like genes in art-world careers that, one might have thought, had nothing to do with his.” He knows how Norman Rockwell made a chicken stand still long enough to be painted, and what Degas said about success (some kinds are indistinguishable from panic). Phrasemaker par excellence, Hughes is at the same time an incisive and profound critic, not only of particular artists, but also of the social context in which art exists and is traded. His fresh perceptions of such figures as Andy Warhol and the French writer Jean Baudrillard are matched in brilliance by his pungent discussions of the art market—its inflated prices and reputations, its damage to the public domain of culture. There is a superb essay on Bernard Berenson, and another on the strange, tangled case of the Mark Rothko estate. And as a finale, Hughes gives us “The SoHoiad,” the mock-epic satire that so amused and annoyed the art world in the mid-1980s. A meteor of a book that enlightens, startles, stimulates and entertains.
Robert Hughes Robert Hughes, who has stunned us with comprehensive works on subjects as sweeping and complex as the history of Australia (The Fatal Shore), the modern art movement (The Shock of the New), the nature of American art (American Visions), and the nature of America itself as seen through its art (The Culture of Complaint), now turns his renowned critical eye to one of art history’s most compelling, enigmatic, and important figures, Francisco José de Goya y Lucientes. With characteristic critical fervor and sure-eyed insight, Hughes brings us the story of an artist whose life and work bridged the transition from the eighteenth-century reign of the old masters to the early days of the nineteenth-century moderns.
With his salient passion for the artist and the art, Hughes brings Goya vividly to life through dazzling analysis of a vast breadth of his work. Building upon the historical evidence that exists, Hughes tracks Goya’s development, as man and artist, without missing a beat, from the early works commissioned by the Church, through his long, productive, and tempestuous career at court, to the darkly sinister and cryptic work he did at the end of his life. In a work that is at once interpretive biography and cultural epic, Hughes grounds Goya firmly in the context of his time, taking us on a wild romp through Spanish history; from the brutality and easy violence of street life to the fiery terrors of the Holy Inquisition to the grave realities of war, Hughes shows us in vibrant detail the cultural forces that shaped Goya’s work.
Underlying the exhaustive, critical analysis and the rich historical background is Hughes’s own intimately personal relationship to his subject. This is a book informed not only by lifelong love and study, but by his own recent experiences of mortality and death. As such this is a uniquely moving and human book; with the same relentless and fearless intelligence he has brought to every subject he has ever tackled, Hughes here transcends biography to bring us a rich and fiercely brave book about art and life, love and rage, impotence and death. This is one genius writing at full capacity about another—and the result is truly spectacular.
Robert Hughes Robert Hughes has trained his critical eye on many major subjects, from the city of Barcelona to the history of his native Australia. Now he turns that eye inward, onto himself and the world that formed him. Hughes analyzes his experiences the way he might examine a Van Gogh or a Picasso. From his relationship with his stern and distant father to his Catholic upbringing and school years; and from his development as an artist, writer, and critic to his growing appreciation of art and his exhilaration at leaving Australia to discover a new life, Hughes’ memoir is an extraordinary feat of exploration and celebration.
Robert Hughes & Adam Gopnik “I am completely an elitist, in the cultural but emphatically not the social sense. I prefer the good to the bad, the articulate to the mumbling, the aesthetically developed to the merely primitive, and full to partial consciousness. I love the spectacle of skill, whether it’s an expert gardener at work, or a good carpenter chopping dovetails . . . I don’t think stupid or ill-read people are as good to be with as wise and fully literate ones. I would rather watch a great tennis player than a mediocre one . . . Consequently, most of the human race doesn’t matter much to me, outside the normal and necessary frame of courtesy and the obligation to respect human rights. I see no reason to squirm around apologizing for this. I am, after all, a cultural critic, and my main job is to distinguish the good from the second-rate.”
Robert Hughes wrote with brutal honesty about art, architecture, culture, religion, and himself. He translated his passions—of which there were many, both positive and negative—brilliantly, convincingly, and with vitality and immediacy, always holding himself to the same rigorous standards of skill, authenticity, and significance that he did his subjects. There never was, and never will be again, a voice like this. In this volume, that voice rings clear through a gathering of some of his most unforgettable writings, culled from nine of his most widely read and important books. This selection shows his enormous range and gives us a uniquely cohesive view of both the critic and the man.
Most revealing, and most thrilling for Hughes’s legions of fans, are the never-before-published pages from his unfinished second volume of memoirs. These last writings show Robert Hughes at the height of his powers and can be read only with pleasure and a tinge of sadness that his extraordinary voice is no longer here to educate us as well as to clarify and define our world.
Robert Hughes Louis Kahn was one of the most important architects of the twentieth century, hailed as a master of materials, but also of light. "The plan of a building," he once said, "should be read like a harmony of spaces created in light." Here, in this essay by the legendary art critic Robert Hughes, is Kahn's story.
Diane E. Meier, Stephen L. Isaacs & Robert Hughes Palliative Care is the first book to provide a comprehensive understanding of the new field that is transforming the way Americans deal with serious illness.
Diane E. Meier, M.D., one of the field's leaders and a recipient of a MacArthur Foundation "genius award" in 2009, opens the volume with a sweeping overview of the field. In her essay, Dr. Meier examines the roots of palliative care, explores the key legal and ethical issues, discusses the development of palliative care, and presents ideas on policies that can improve access to palliative care.
Dr. Meier's essay is followed by reprints of twenty-five of the most important articles in the field. They range from classic pieces by some of the field's pioneers, such as Eric Cassel, Balfour Mount, and Elizabeth Kübler-Ross, to influential newer articles on topics such as caregiving and cost savings of palliative care. The reprints cover a wide range of topics including:
Why the care of the seriously ill is so important
Efforts to cope with advanced illness
Legal and ethical issues
The demand for palliative care has been nothing short of stunning—largely because of palliative care's positive impact on both the quality and the cost of care provided to seriously ill individuals. By providing a wide-ranging perspective on this growing field, this book will serve as a guide for developing meaningful approaches that will lead to better health care for all Americans.
Robert Hughes "Barcelona" Roberta Hughesa, autora znakomitego "Rzymu", to fascynująca biografia najbardziej niehiszpańskiego z hiszpańskich miast. Hughes opisuje burzliwe dzieje stolicy Katalonii, opowiada o losach władców, magnatów, artystów, poetów, architektów, żyjących i tworzących w tym mieście i oprowadza czytelnika po jego najciekawszych miejscach. Od Parku Güell i surrealistycznej świątyni Sagrada Família Gaudiego do postmodernistycznego klubu Torres de Àvila. Ebook nie zawiera zdjęć z tradycyjnego wydania.
Robert Hughes Robert Hughes, uno de los mejores críticos contemporáneos del arte y de la cultura, nos guía por el pasado y el presente de Roma, desde sus orígenes etruscos y su misteriosa fundación hasta la ciudad de los años sesenta del siglo pasado: la Roma de Fellini y de la “dolce vita”.
Profundo conocedor de su historia, su arte y su cultura, nos conduce en un recorrido fascinante por cerca de tres mil años de esplendor y decadencia de la que ha sido, en muchos sentidos, la capital del mundo, y evoca las grandes figuras de su pasado, desde César a Mussolini. Hughes nos habla de política, de religión y de arte, relacionándolos entre si: las vidas de los artistas –Miguel Ángel, Caravaggio, Piranesi, Chirico…- nos ayudan a entender sus obras y a situarlas en su tiempo, en un relato en que también los grandes monumentos, como el Foro de Augusto o la Basílica de San Pedro, asumen el papel de otros tantos personajes. Este es un libro espléndido, que aúna sabiamente conocimiento y pasión.
Robert Hughes When Laurel and her family find an old summer house on the far east end of Long Island, they hope also to find peace, as they recover from the sudden death of their young son. Amid the cobwebs and clutter of the old rectory, Laurel comes upon a century-old diary that details the story of a lonely woman who lived in the house, and who wrote about some of the eerie visitors who would call on her at night. Laurel also finds a book that seems to have the power to bring back her son. Is she under the delusion of grief, or is something more at stake? Her husband, her friends, and even herself, think she's in danger from her own fantasies. "The Rectory" explores how one lonely woman copes with loss, and to powers that prey upon the grief-stricken.
Robert Hughes Designed for laypeople, this commentary deals seriously with the biblical text without being overly technical. Introductory information, doctrinal themes, problem passages, and practical applications are examined.
Robert Hughes Whenever a Christian spreads the gospel, obstacles arise. It doesn't matter whether that Christian is the apostle Paul or you. Second Corinthians is a letter from Paul that deals not only with those problems, but also with their solutions. A careful study provides you with many practical rules to apply to your own situations. Robert B. Hughes clarifies the meaning of the text in a paragragh-by-paragraph analysis that follow the logic and progression of Paul's arguments and highlights the heart of the apostle's message to the church. He treats the text seriously without becoming overly technical. You will find this commentary both helpful and highly readable.
Robert Hughes «La cultura del piagnisteo è il cadavere del liberalismo degli anni Sessanta, è il frutto dell’ossessione per i diritti civili e dell’esaltazione vittimistica delle minoranze. Ma, a ben guardare, le origini di questa cultura sono più antiche. L’America è una nazione fondata sull’emigrazione e da sempre i diversi gruppi di emigranti sono entrati in collisione tra loro ... Nel contempo però questi emigranti volevano costruire una società utopica, parlavano di missione, pensavano a un nuovo mondo che doveva convertire l’Europa degenerata». Della voga del politicamente corretto non poteva esserci miglior evocatore, narratore e interprete di Robert Hughes, polemista formidabile e testimone lucidissimo. Dietro l’occasione, che appartiene ormai alla storia – spesso esilarante – del costume quotidiano, Hughes lascia intravedere una prospettiva non lieta su ciò che la cultura in genere cerca di diventare nel prossimo futuro.
Osip Mandelstam, Henry Gifford, Sidney Monas, Clarence Brown & Robert Hughes The last published work of a great poet who wrote a few lines attacking Stalin and was shortly thereafter exiled to Siberia where he died near Vladivostok six years later. An inimitable volume, Journey to Armenia is a travel book in name only.
Osip Mandelstam visited Armenia in 1930, and during the eight months of his stay he rediscovered his poetic voice and was inspired to write an experimental meditation on the country and its ancient culture.
'Armenia brought him back to his true self, a self depending on the "inner ear" which could never play a poet false. There was everything congenial to him in this country of red and ochre landscape, ancient churches, and resonant pottery.' - Henry Gifford.
This edition also includes the companion-piece, "Conversation about Dante," which Seamus Heaney called "Osip Mandelstam's astonishing fantasia on poetic creation." "Conversation about Dante," Mandelstam's incomparable apologia for poetic freedom and challenge to the Bolshevik establishment, was dictated by the poet to his wife, Nadezhda Mandelstam, in 1934-35, during the last phase of his itinerant life. It has close ties to the Journey.
Robert Hughes Two centuries before Blackbeard or Morgan, the Caribbean is an unknown factor to Europeans. On the eve of the Conquistador invasion, only a few runaway slaves and castaways share the lands with the native inhabitants. Amongst these is Sin, reaver, plunderer, wanderer, seeking adventures and resisting her implacable enemy, the expanding Astorian Empire. This collection chronicles her emergence as a youth to become the direst warrior of her epoch. Raised in a swaggering, lustful, violent world, Sin’s tale is both arousing and repulsive, ghastly, grueling, and exhilarating. Daunted neither by torture nor demonic perdition, Sin defies what no other woman (or man) dare confront, pitting her courage against all challenges, prepared to fall in battle or to rise triumphant.
Robert Hughes We are fooled by our brain and do not know it. We are not who we think we are. We never decide, and we can only know events in retrospect. Any act (including any thought) that we find ourselves launched upon is a commitment to the unknown because the act is unconscious until completed. It pops into existence. We cannot know whether we will successfully pick up a cup of tea or spill it, walk or trip, stand up or stumble. We do not, cannot, know what we are doing, only what we have already done. Life at every moment is an adventure! There is much more. Person-to-person communication is not possible. Our brain does not allow it. Awareness of our environment is a chimera. Self-knowledge unachievable. This may strike the ear as fatalistic, or self-defeating, or hopeless, but paradoxically it is the foundation of our freedom and responsibility. Neuroscience has finally freed us from the burdens of guilt and shame, while simultaneously providing an entirely new and exciting perspective on our identity.
In the mid-19th century, Darwin outlined the controversial Unified Theory of Biology. Since Einstein’s 1915 Relativity Theory and the development of Quantum Theory in the 1920s, physicists have established GUT (grand unified theory) and are now working towards TOE (the theory of everything). But other fields of knowledge are also advancing. Currently, neuroscience is making unprecedented strides in understanding the workings of the brain. In this book, Hughes picks up on these traces to speculate upon a Unified Theory of Awareness which looks to transform our self-understanding as much as Relativity has changed our perspective on the cosmos.