MARC Record from marc_columbia

LEADER: 06003cam a2200793Ia 4500
001 4241177
005 20220618225521.0
006 m o d
007 cr cn|||||||||
008 030521s2001 maua ob 001 0 eng d
010 $a 00046060
035 $a(OCoLC)ocm52291799
035 $a(NNC)4241177
040 $aN$T$beng$epn$cN$T$dYDXCP$dOCLCG$dOCLCQ$dN$T$dOCLCQ$dTUU$dOCLCQ$dTNF$dOCLCQ$dZCU$dOCLCO$dOCLCQ$dOCLCO$dOCLCF$dNLGGC$dOCLCQ$dDEFHM$dOCLCQ$dOCLCO$dWY@$dROC$dLUE$dMIH$dINARC$dVTS$dAGLDB$dOCLCQ$dOCLCO$dTOF$dMITPR$dSTF$dM8D$dJX9$dEBLCP$dUMK$dSFB$dAU@$dUKSSU$dOCLCO
015 $aGBA127194$2bnb
016 7 $a000021778157$2AU
019 $a992020359$a1020538710$a1036785563$a1058000480$a1109165686$a1150160892$a1154832196
020 $a9780262269254$q(electronic bk.)
020 $a0262269252$q(electronic bk.)
020 $a0585446598$q(electronic bk.)
020 $a9780585446592$q(electronic bk.)
020 $z0262024888$q(hc. ;$qalk. paper)
020 $a9780262024884
020 $a0262024888
024 3 $a9780262024884
035 $a(OCoLC)52291799$z(OCoLC)992020359$z(OCoLC)1020538710$z(OCoLC)1036785563$z(OCoLC)1058000480$z(OCoLC)1109165686$z(OCoLC)1150160892$z(OCoLC)1154832196
037 $a5214$bMIT Press
037 $a9780262269254$bMIT Press
043 $an-us---
050 4 $aN6512.5.S75$bB74 2001eb
072 7 $aART$x015020$2bisacsh
082 04 $a709/.73/09042$221
084 $a20.89$2bcl
049 $aZCUA
100 1 $aBrennan, Marcia.
245 10 $aPainting gender, constructing theory :$bthe Alfred Stieglitz Circle and American formalist aesthetics /$cMarcia Brennan.
260 $aCambridge, Mass. :$bMIT Press,$c©2001.
300 $a1 online resource (xi, 377 pages) :$billustrations (some color)
336 $atext$btxt$2rdacontent
337 $acomputer$bc$2rdamedia
338 $aonline resource$bcr$2rdacarrier
504 $aIncludes bibliographical references (pages 272-369) and index.
505 0 $aPuritan repression and the Whitmanic ideal: the Stieglitz Circle and debates in American high culture, 1916-1929 -- Faith, love and the broken camera: Alfred Stieglitz and New York Dada -- Alfred Stieglitz and his critics: an aesthetics of intimacy -- Arthur Dove and Georgia O'Keeffe: corporeal transparency and strategies of inclusion -- John Marin: framed landscapes and embodied visions -- Marsden Hartley and Charles Demuth: the edges of the circle -- Modernism's masculine subjects: Alfred Stieglitz versus Thomas Hart Benton -- The contest for "the greatest American painter of the twentieth century": Alfred Stieglitz and Clement Greenberg.
588 0 $aPrint version record.
520 $aHow critical conceptions of gender and sexuality helped to advance the artistic careers of the Alfred Stieglitz Circle and influenced American formalist aesthetics.After the closing of his first art gallery in 1917, photographer Alfred Stieglitz reemerged in the New York art world in the 1920s. He achieved his comeback in large part through the innovative means he used to promote himself and the artists of his inner circle. Stieglitz and a number of well-established critics drew on period conceptions of sexuality, gender, and cultural identity to characterize the artists he championed as the fulfillment of a shared vision of a vital, nonrepressed American art.In Painting Gender, Constructing Theory, Marcia Brennan examines how Stieglitz and the critics drew on early-twentieth-century discourses on sex and the psyche, particularly the theories of Sigmund Freud and Havelock Ellis, to characterize the artworks of the Stieglitz circle. Critics routinely described the often highly abstracted paintings of Georgia O'Keeffe, Arthur Dove, John Marin, Marsden Hartley, and Charles Demuth as transparent displays of the most intimate aspects of the self, taking both subject matter and painterly form to be guided by the artist's own gendered and psychic energies.Focusing on the key historical criticism and artworks, Brennan shows how the identities of all five Stieglitz circle artists were presented in terms of the masculinity and femininity, and the heterosexuality and homosexuality, thought to be embedded in their work. Brennan also discusses Stieglitz's relation to competing artistic and critical movements, including Thomas Hart Benton's regionalist art and Clement Greenberg's reformulation of formalism. Arguing that American formalist criticism consisted of a complex and paradoxical mixture of corporeality and disembodied transcendence, Brennan provides insight not only into the works of the Stieglitz circle but into the development of formalist criticism itself.
546 $aEnglish.
600 10 $aStieglitz, Alfred,$d1864-1946$xAesthetics.
600 17 $aStieglitz, Alfred,$d1864-1946.$2fast$0(OCoLC)fst00042888
650 0 $aStieglitz Circle (Group of artists)
650 0 $aModernism (Art)$zUnited States.
650 0 $aGender identity in art.
650 6 $aCercle de Stieglitz (Groupe d'artistes)
650 6 $aModernisme (Art)$zÉtats-Unis.
650 6 $aIdentité sexuelle dans l'art.
650 7 $aART$xAmerican$xGeneral.$2bisacsh
650 7 $aAesthetics.$2fast$0(OCoLC)fst00798702
650 7 $aGender identity in art.$2fast$0(OCoLC)fst00939604
650 7 $aModernism (Art)$2fast$0(OCoLC)fst01024442
650 7 $aStieglitz Circle (Group of artists)$2fast$0(OCoLC)fst01133358
651 7 $aUnited States.$2fast$0(OCoLC)fst01204155
650 17 $aSekseverschillen.$2gtt
650 17 $aKunst.$2gtt
653 $aARTS/General
655 0 $aElectronic books.
655 4 $aElectronic books.
655 7 $aGeschiedenis (vorm)$0(NL-LeOCL)088143147$2gtt
776 08 $iPrint version:$aBrennan, Marcia.$tPainting gender, constructing theory.$dCambridge, Mass. : MIT Press, ©2001$z0262024888$w(DLC) 00046060$w(OCoLC)45002145
856 40 $uhttp://www.columbia.edu/cgi-bin/cul/resolve?clio4241177$zAll EBSCO eBooks
852 8 $blweb$hEBOOKS