
By Patricia Leighten
Leighten examines the circle of artists—Pablo Picasso, Juan Gris, František Kupka, Maurice de Vlaminck, Kees Van Dongen, and others—for whom anarchist politics drove the assumption of avant-garde paintings, exploring how their aesthetic offerings negotiated the myriad creative languages working within the decade earlier than global warfare I. whether or not they labored on large-scale salon work, political cartoons, or avant-garde abstractions, those artists, she exhibits, have been preoccupied with social feedback. each one sought a suitable topic, medium, variety, and viewers in line with varied conceptions of the way artwork affects society—and their offerings continuously shifted as they replied to the dilemmas posed through contradictory anarchist principles. in accordance with anarchist theorists, artwork may still divulge the follies and iniquities of the current to the loads, however it also needs to be the untrammeled expression of the emancipated person and open a route to a brand new social order. Revealing how those principles generated a few of modernism’s such a lot telling contradictions one of the prewar Parisian avant-garde, The Liberation of Painting restores progressive activism to the wider heritage of recent artwork.
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