TY  - BOOK
AU  - Brennan,Marcia
TI  - Modernism's masculine subjects: Matisse, the New York school and post-painterly abstraction 
SN  - 026202571X
AV  - N6494.M64 B74 2004
U1  - 759.06 22
PY  - 2004///
CY  - Cambridge, Mass., London, Eng.
PB  - MIT Press
KW  - Modernism (Art)
KW  - Formalism (Art)
KW  - New York school of art
KW  - Gender identity in art
KW  - Painting, Modern
KW  - 20th century
N1  - Includes bibliographical references (pages 192-205) and index; Introduction : A "straight theory" of bourgeois pleasure in later modernist painting --; Ch. 1; Still lifes and centerfolds : the negotiation of the feminine in Greenberg's Reading of Matisse --; Ch. 2; Fragmented bodies and canonical nudes : painting and reading de Kooning's Woman series --; Ch. 3; Pollock and Krasner : touching and transcending the boundaries of abstract expressionism --; Ch. 4; How formalism lost its body but kept its gender : Frankenthaler, Louis, and Noland in the Sixties
N2  - "In the era of The Man in the Gray Flannel Suit - when social pressures on men to conform threatened cherished notions of masculine vitality, freedom, and authenticity - modernist paintings came to be seen as metaphorical embodiments of both idealized and highly conflicted conceptions of masculine selfhood. In Modernism's Masculine Subjects, Marcia Brennan traces the formalist critical discourses in which work by such artists as Henri Matisse, Willem de Kooning, and Jackson Pollock could stand as symbolic representations that at once challenged and reproduced such prevailing cultural conceptions of masculinity. Rejecting the typical view of formalism's exclusive engagement with essentialized and purified notions of abstraction and its disengagement from issues of gender and embodiment, Brennan explores the ways in which these categories were intertwined, historically and theoretically."--BOOK JACKET
ER  -