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Tables of Contents for Art in France, 1900-1940
Chapter/Section Title
Page #
Page Count
Acknowledgements
viii
 
Preface
ix
 
PART ONE: ART MADE HISTORY
Introduction
1
3
Monuments to the Third Republic: The Great Exhibitions of 1900, 1925 and 1937
Before and After 1900
4
1
Before and After 1925
5
3
Before and After 1937
8
4
Art in France, 1900-40: French and Transatlantic Perspectives
12
3
Modern Movements in France, 1900-40
Making Fauvism
15
4
Making Cubism
19
7
Making Dada
26
2
Making Surrealism
28
4
Modern Movements and `Abstract Art', 1912-40
32
2
Avant-gardes, Dominant Values and Histories
34
5
PART TWO: LIVES IN ART
Introduction
39
1
Framing Lives
Democracy, Diversity and Direction: Officials and Institutions
39
4
Different Artists, Different Markets
43
4
Fixing and Unfixing Categories: Painters, Sculptors and Others
47
3
Poets and Professionals: Writing on Art
50
3
Winning for Modernism: The Dealers and Collectors
53
7
Celebrated Lives
The Conditions of Success
60
1
Crossing Boundaries: Foreign Artists in France, 1900-40
61
4
Crossing Boundaries: Women Artists in France, 1900-40
65
3
Being a Modern Master: Matisse and Picasso, Brancusi, Mondrian, Giacometti and Others
68
9
Being Marcel Duchamp: A Singular Double Life
77
5
PART THREE: MAKING ART
Introduction
82
1
Representing Nature; Seeing Art
Expression and Decoration: From `Art Nouveau' Bing to Matisse
82
9
Likeness and Deformation, Analysis and Synthesis: From Matisse into Cubism
91
8
`Pure Painting' and the Tableau-object: Cubists, Orphists and Matisse as Cubist
99
5
The Idea in the Work: Kupka and Mondrian
104
6
Art and `Evolution'
110
2
The Languages and Objects of Art
Metamorphosis and the Semiotics of Cubism
112
3
Metaphor and Metamorphosis: Surrealists and Cubists
115
11
Allegory and Myth: From De Chirico to Guernica
126
2
Words and Things: From Duchamp's Large Glass to the `Surrealist Object'
128
10
Art and `Revolution'
138
3
PART FOUR: REPRESENTING MODERNITY
Introduction
141
1
The Experience of Modernity and the `New Spirit'
Representing Modern Ideas: Abstraction, Science and Bergsonism
141
6
Representing Modern Experience: Photography and Painting, Futurists and Simultanists
147
5
Representing War and Peace: Leger and the Purist `New Spirit' 1913-28
152
6
The Palais de la Decouverte: Representing Science and Technology at the Exhibition of 1937
158
3
Modern Spaces; Modern Objects; Modern People
Domestic Modernity: From the Maison Cubiste to the Pavillon de I'Esprit Nouveau; from Collage to Leger's Manufactured Objects
161
4
Modernity and Gender: Working Women and Independent Women; Wives and Mothers
165
8
Representing Modern Society: Class, Political Engagement and the `Realism' Debate in the 1930s; Worlds of Work and Leisure
173
12
PART FIVE: HISTORY, TRADITION AND THE FRENCH NATION
Introduction
185
2
Modernism and the Re-invention of Tradition, 1900-18
`One must become classical again by way of nature': From Denis and Maillol to Matisse
187
9
The Challenge of Tradition: The Presence of the Past in the Work of the Cubists and of Derain, 1907-14
196
5
Being Modern and Traditional in Wartime, 1914-18
201
5
From Peace to Crisis: Traditions in Conflict, 1918-40
France, Foreigners and `the Art of the Occident'
206
3
The Unity in Diversity of France: The `Call to Order' in Paris and the Regions, 1918-30
209
8
`Greater France' at the 1931 Colonial Exhibition; Matisse and Orientalism
217
5
The Cult of the Past, the `Ecole Francaise' and the `Meteques': Humanism and Xenophobia, 1924-40
222
8
From Modern Master to Refugee: Chagall, 1938-41
230
3
PART SIX: RESISTING MODERNITY; RESISTING CIVILISATION
Introduction
233
2
Primitivising the Modern, 1900-18
The `Naive', the `Sincere' and the `Savage': From Rousseau in the `Cage des Fauves' to the Demoiselles d' Avignon
235
9
Being `Primitive' in Early Twentieth-Century Paris: Henri Rousseau, `le Douanier'; Constantin Brancusi, `This Peasant from the Danube'
244
7
Against Modernity, Against Logic: `Primitive Mentality' and Bergsonian Intuition
251
3
Counter-Cultural Art, 1918-40
Change and Contradiction; The Provocations of Brancusi, Duchamp and Picabia
254
6
Releasing Images: Surrealist Strategies of Liberation
260
10
The World as Myth: Psychoanalysis and Other Surrealist Preoccupations
270
8
De-civilising Culture: From Magic to Bassesse
278
7
The Visual Art of Opposition: Picasso and Guernica, Surrealism and Politics, Collage and War
285
6
Notes
291
15
Select Bibliography
306
6
Index
312
10
Photographic Acknowledgements
322