"This is a much needed, important collection-a goldmine of sources for scholars and students. The texts articulate the key Primitivist aesthetic discourses of the period, offering crucial insight into the complex and always changing nexus between culture, politics, and representation. Because of the breadth of the materials covered and the controversies they raise, this anthology is one of the all too rare volumes that not only will provide reference materials for years to come but also will feature centrally in classroom discussions."--Suzanne Preston Blier, author of "African Vodun: Art, Psychology, and Power
"For almost a century art historians have fretted about the notion of primitivism in the arts. This comprehensive-in both senses of the word-anthology is a peerless source of the history of responses to works categorized as 'primitive.' In its range, the book touches upon all the troubling questions-formal, anthropological, political, historical-that have bedeviled the study of the arts of Oceania, Africa, and North and South America, and provides the grounds, at last, for intelligent pursuit of keener distinctions. I regard this book as a superb contribution to the study of Modern art; in fact, indispensable."--Dore Ashton, author of "Noguchi East and West
"An extraordinarily useful and complete collection of primary documents, many translated for the first time into English, and almost all unlikely to be encountered elsewhere without serious effort. Its five sections, each with a lively and scholarly introduction, reveal the diverse views of artists and writers on primitive art from Matisse, Picasso, and Fry to many far less known and sometimes surprising figures. The bookalso uncovers the politics and aesthetics of the major museum exhibitions that gained acceptance for art that had been both reviled and mythologized. Recent texts included are all germane. This book will be invaluable for any college course on the topic."--Shelly Errington, author of "The Death of Authentic Primitive Art and Other Tales of Progress
"An exceptionally valuable anthology of seventy documents--most heretofore unavailable in English--on the ongoing controversies surrounding Primitivism and Modern art. Insightfully chosen and annotated, the collection is brilliantly introduced by Jack Flam's essay on the historical progression, contexts, and cultural complexities of more than one hundred years' ideas about Primitivism. Rich, timely, illuminating."--Herbert M. Cole, author of "Icons: Ideals and Power in the Art of Africa
Show more"This is a much needed, important collection-a goldmine of sources for scholars and students. The texts articulate the key Primitivist aesthetic discourses of the period, offering crucial insight into the complex and always changing nexus between culture, politics, and representation. Because of the breadth of the materials covered and the controversies they raise, this anthology is one of the all too rare volumes that not only will provide reference materials for years to come but also will feature centrally in classroom discussions."--Suzanne Preston Blier, author of "African Vodun: Art, Psychology, and Power
"For almost a century art historians have fretted about the notion of primitivism in the arts. This comprehensive-in both senses of the word-anthology is a peerless source of the history of responses to works categorized as 'primitive.' In its range, the book touches upon all the troubling questions-formal, anthropological, political, historical-that have bedeviled the study of the arts of Oceania, Africa, and North and South America, and provides the grounds, at last, for intelligent pursuit of keener distinctions. I regard this book as a superb contribution to the study of Modern art; in fact, indispensable."--Dore Ashton, author of "Noguchi East and West
"An extraordinarily useful and complete collection of primary documents, many translated for the first time into English, and almost all unlikely to be encountered elsewhere without serious effort. Its five sections, each with a lively and scholarly introduction, reveal the diverse views of artists and writers on primitive art from Matisse, Picasso, and Fry to many far less known and sometimes surprising figures. The bookalso uncovers the politics and aesthetics of the major museum exhibitions that gained acceptance for art that had been both reviled and mythologized. Recent texts included are all germane. This book will be invaluable for any college course on the topic."--Shelly Errington, author of "The Death of Authentic Primitive Art and Other Tales of Progress
"An exceptionally valuable anthology of seventy documents--most heretofore unavailable in English--on the ongoing controversies surrounding Primitivism and Modern art. Insightfully chosen and annotated, the collection is brilliantly introduced by Jack Flam's essay on the historical progression, contexts, and cultural complexities of more than one hundred years' ideas about Primitivism. Rich, timely, illuminating."--Herbert M. Cole, author of "Icons: Ideals and Power in the Art of Africa
Show moreList of Illustrations Preface Introduction by Jack Flam PART 1. DISCOVERY, 1905--18 Maurice de Vlaminck Discovery of African Art, 1906 Andre Derain Early Encounter with African Art, 1906 Henri Matisse First Encounter with African Art, 1906 Pablo Picasso Discovery of African Art, 1906--7 Gertrude Stein Matisse and Picasso and African Art, 1906--7 Guillaume Apollinaire On Museums, 1909 Gelett Burgess The Wild Men of Paris, 1910 Roger Fry The Art of the Bushmen, 1910 Franz Marc Letter to Auguste Macke, 1911 August Macke Masks, 1912 Emil Nolde The Artistic Expressions of Primitive Peoples, 1912 Elie Faure The Tropics, 1912 Andre Warnod Decorative Arts and Artistic Curiosities, 1912 Vladimir Markov Negro Art, 1913 Karl Scheffler Picasso and African Sculpture Exhibition, Berlin, 1913 Emil Waldmann Picasso and African Sculpture Exhibition, Dresden, 1914 Marius de Zayas Statuary in Wood by African Savages: The Root of Modern Art, 1914 Charles H. Caffin Root of Art in Negro Carvings, 1914 Kazimir Malevich The Art of the Savage and Its Principles, 1915 Carl Einstein African Sculpture, 1915 Marius de Zayas African Negro Art and Modern Art, 1916 Hermann Bahr Expressionism, 1916 Edgar L. Hewett America's Archaelogical Heritage, 1916 Guillaume Apollinaire Concerning the Art of the Blacks, 1917 Tristan Tzara Note 6 on African Art, 1917 Josef Capek Negro Sculpture, 1918 PART 2. NEW ATTITUDES AND AWARENESS, 1919--40 T. S. Eliot War-Paint and Feathers, 1919 Henri Clouzot and Andre Level Savage Art, 1919 Paul Guillaume A New Aesthetic, 1919 Florent Fels (editor) Opinions on Negro Art, 1920 Andre Salmon Negro Art, 1920 Roger Fry Negro Sculpture at the Chelsea Book Club, 1920 Felix Feneon (editor) Will Arts from Remote Places Be Admitted into the Louvre? 1920 Walter Pach The Art of the American Indian, 1920 Marsden Hartley Red Man Ceremonials, 1920 Carlo Anti The Sculpture of the African Negroes, 1923 Florent Fels Negro Art at the Pavillon de Marsan, 1923 Alain Locke Note on African Art, 1924 Henri Clouzot and Andre Level The Lesson of an Exhibition, 1925 Alain Locke Legacy of the Ancestral Arts, 1925 Georges Salles Reflections on Negro Art, 1927 Christian Zervos Oceanic Works of Art and Today's Problems, 1929 Paul Eluard Savage Art, 1929 Waldemar George The Twilight of the Idols, 1930 G. H. Luquet Primitive Art, 1930 Georges Bataille Primitive Art, 1930 John Sloan and Oliver LaFarge Introduction to American Indian Art, 1931 Eckart von Sydow The Meaning of Primitive Art, 1932 Romare Bearden The Negro Artist and Modern Art, 1934 James Johnson Sweeney The Art of Negro Africa, 1935 Alain Locke African Art, 1935 John D. Graham Primitive Art and Picasso, 1937 James A. Porter The Negro Artist and Racial Bias, 1937 PART 3. THE ASCENDANCE OF PRIMITIVISM, 1941--83 Frederic H. Douglas and Rene d'Harnoncourt Indian Art of the United States, 1941 Henry Moore Primitive Art, 1941 Adolph Gottlieb and Mark Rothko The Portrait and the Modern Artist, 1943 Ralph Linton and Paul S. Wingert Arts of the South Seas, 1946 Barnett Newman Art of the South Seas, 1946 Barnett Newman Foreword, Northwest Coast Indian Painting, 1946 D. H. Kahnweiler Negro Art and Cubism, 1948 Jean Dubuffet Anticultural Positions, 1951 Jean Laude French Painting and Negro Art, 1968 PART 4. THE MUSEUM OF MODERN ART'S 1984 PRIMITIVISM SHOW AND ITS AFTERMATH William Rubin Modernist Primitivism, 1984 Thomas McEvilley Doctor, Lawyer, Indian Chief, 1984 James Clifford Histories of the Tribal and the Modern, 1985 Kirk Varnedoe On the Claims and Critics of the "Primitivism" Show, 1985 Hal Foster The "Primitive" Unconscious of Modern Art, 1985 Thomas McEvilley The Global Issue, 1990 Lucy Lippard Naming, 1990 Sieglinde Lemke Primitivist Modernism, 1998 Coda: Quotations from Artists and Writers Chronology of Events, Exhibitions, and Publications Bibliography Index
Jack Flam is Distinguished Professor of Art History at Brooklyn College and the Graduate Center of the City University of New York. He is the author of numerous books and articles on modern art and on African art. His recent works include Western Artists/African Art (1994), Matisse on Art (California, 1995), and Robert Smithson: The Collected Writings (California, 1996). Miriam Deutch is Associate Professor specializing in Art History at the Brooklyn College Library and author of Images from Columbia's Past 1865-1945 (1982).
Focusing on the Western artistic engagement with 'traditional, indigenous arts of Africa, Oceania, and North America, ' the sources here offer a broad range of opinions from artists and critics, archaeologists and psychologists.... they chart the development of primitivism from its function as a formal tool of modernist painters and a plaything of 1920s jazz club socialites to its status as a scholarly conceit of mid-centry anthropologists."--"Times Literary Supplement (TLS)"
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