简介
"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 art-works, 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."--BOOK JACKET.
目录
Acknowledgments viii
Introduction 2
Part I Embodied Formalism: The Formation of a Discourse
Chapter 1 20
Puritan Repression and the Whitmanic Ideal:
The Stieglitz Circle and Debates in American
High Culture, 1916-1929
Chapter 2 44
Faith, Love, and the Broken Camera:
Alfred Stieglitz and New York Dada
Chapter 3 72
Alfred Stieglitz and His Critics:
An Aesthetics of Intimacy
Part II The Stieglitz Circle's Symbolic Body
Chapter 4 96
Arthur Dove and Georgia O'Keeffe:
Corporeal Transparency and Strategies of Inclusion
Chapter 5 136
John Marin:
Framed Landscapes and Embodied Visions
Chapter 6 156
Marsden Hartley and Charles Demuth:
The Edges of the Circle
Part III Contests and Counterdiscourses, circa 1930-1950
Chapter 7 202
Modernism's Masculine Subjects:
Alfred Stieglitz versus Thomas Hart Benton
Chapter 8 232
The Contest for "the Greatest American
Painter of the Twentieth Century":
Alfred Stieglitz and Clement Greenberg
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