TY  - BOOK
AU  - Salmon,André
AU  - Gersh-Nešić,Beth S.
AU  - Salmon,André
TI  - André Salmon on French modern art
SN  - 0521856582
AV  - N6848 .S27 2005
U1  - 709.4409041 22
PY  - 2005///
CY  - Cambridge, New York
PB  - Cambridge University Press
KW  - Art, French
KW  - 20th century
N1  - Includes bibliographical references (pages 185-192) and index; La jeune peinture française. Foreword -- The fauves -- Anecdotal history of cubism -- Contemporary art -- A rebirth of French landscape painting -- Twentieth century women painters -- La jeune sculpture française. Foreword -- The fable of the little tin fish -- Doctrine -- Under the gates of hell -- The west -- Figurative sculptors -- Sculptresses -- Humanism -- Cannibalism -- El guitare --; La jeune peinture française. Foreword -- The fauves -- An anecdotal history of cubism -- Contemporary art -- A rebirth of French landscape painting -- Twentieth-century women painters -- La jeune sculpture française. Foreword -- The fable of the little tin fish -- Doctrine -- Under the gates of hell -- The west -- Figurative sculptors -- Sculptresses -- Humanism -- Cannibalism -- El guitare
N2  - "Andre Salmon was one of the premier art critics of his day and the author of two important eyewitness accounts of early twentieth-century art in France, La jeune peinture francaise and La jeune sculpture francaise. These works capture the revolutionary spirit of the period and include references to and jokes from a small coterie of artists and poets that included Picasso, Guillaume Apollinaire, Max Jacob, Georges Braque, and Salmon himself. This is the first English-language translation of Salmon's first two books, which serve as the primary sources of the Fauves, the Cubists, and their avant-garde contemporaries. Beth Gersh-Nesic's translation includes annotations that expand upon the period, most notably the literary references that came so naturally to Salmon. His rapport with his peers becomes transparent, providing insight into the studio banter that gave rise to some of the artwork of that era, particularly Picasso's collages. The introduction calls attention to Salmon's main criteria as a critic and offers an understanding of his personal aesthetics, through which we gain a better sense of his ideas and prejudices."--BOOK JACKET
ER  -