Free Download The Shock of the New: The Hundred-Year History of Modern Art: Its Rise, Its Dazzling Achievement, It's Fall

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The Shock of the New: The Hundred-Year History of Modern Art: Its Rise, Its Dazzling Achievement, It's Fall

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About the Author

Robert Hughes has been an art critic for Time magazine since 1970. His eight-part BBC/Time-Life television series, on which this book is based, has been broadcast throughout the United States on public television. He has received the Franklin Jewett Mather Award for Distinguished Criticism from the College Art Association of America twice, and he has authored the Art of Australia (1966); Heaven and Hell in Western Art (1969); and Nothing If Not Critical (1990), a collection of essays on art and artists.

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Product details

Paperback: 448 pages

Publisher: McGraw-Hill Education; 2nd edition (September 1, 1990)

Language: English

ISBN-10: 9780070311275

ISBN-13: 978-0070311275

ASIN: 0070311277

Product Dimensions:

8.5 x 1.3 x 10.5 inches

Shipping Weight: 3 pounds (View shipping rates and policies)

Average Customer Review:

4.4 out of 5 stars

48 customer reviews

Amazon Best Sellers Rank:

#258,237 in Books (See Top 100 in Books)

The Shock Of The New, by Robert Hughes, is an overview of modern art, starting with the impressionist and continuing to the late 1980s. This is perhaps the most intellectually stimulating book I have ever read. The author effectively follows the sinuous path of modern art, including its impact on thinking in the arts and society.What captured my attention was Hughes’ exceptional contention, for an art critic, that “… (in)the time of our grandfathers and great-grandfathers, the visual arts had a kind of social importance they can no longer claim today”. (Hughes, Robert. The Shock of the New (Kindle Locations 110-111). Knopf Doubleday Publishing Group. Kindle Edition.)For an art critic to say that the importance of art has diminished since 1870 is astonishing in itself. I began to believe that Robert Hughes would deliver an honest appraisal of modern art while explaining what was going on at the same time. Mr. Hughes came through with flying colors. This is a brutally honest appraisal of modern art, where it has come from, and what happens now that it seems to have died a convoluted death.“What has our culture lost in 1980 that the avant-garde had in 1890? Ebullience, idealism, confidence, the belief that there was plenty of territory to explore, and above all the sense that art, in the most disinterested and noble way, could find the necessary metaphors by which a radically changing culture could be explained…” (Kindle Locations 117-119).Mr. Hughes correctly observes that the most important event in the history of modern art was World War I, the first industrial war in history. Masses of men were thrown against defenses that were all but impossible to breach. As offensive after offensive died on the Western Front the generals and politicians lied about what was going on. It was this unmitigated slaughter coupled with the lies of governments that incited modern art after WWI.Impressionism was part of the triumph of middle-class society. First showing in 1874 it caused a major upheaval in art and French society, and became the most popular of all art movements. Note this was pre-WWI. “An Impressionist ‘view’ was the essence of realism: it represented one thing at a given moment in time.” And “the chaos of the ‘view’ must be made to reflect order, structure, and system.” After WWI this ‘view’ of a world with structure and order was gone.Modern art obviously includes architecture, and the author does a masterful job of showing the reader how modern architecture fits into modern art.In his final chapters the author describes the death of the avant-garde in the 1970s, crushed by media driven art. The 1970s, says the author, was the decade that modernism became the official culture of America and Europe. But, it became clear that painting and sculpture would not be the primary forms of social speech after the rise of the mass market. The modernist condemned themselves to a self-deception about the limits of art. Mr. Hughes points out that in fact the world changes itself, but the artist cannot claim to have caused the change. Thus, the death of the avant-garde.Mr. Hughes contends money impacted modern art after the fall of the Soviet Union and the rise of the international super-rich who could pay enormous amounts of money for art. This created the largest art market boom in history, but did not result in an increase in artistic quality. Modernism failed to provide radically new forms to emote new feelings. The new lax thought processes weakened the ideal of mastery and thereby damaged modern art forms.The author’s descriptions of various art movements and artist are excellent. My only complaint was the narrative was choppy. I could not follow which art movement he was discussing as he jumped between eras and artists very quickly. Also, the pictures being discussed are often nowhere near the page the text is on, but this is probably a fault of the electronic book and not the author.

I found the second chapter of this book on Internet and I ordered all the books written by Robert Hugues. Because I do not live in USA, they were re-mailed to me to Romania. I just got them Friday. Actually I am translating this particular one into Romanian. I am up to chapter 3 "The Landscape of Plaesure". My opinion so far? Very interesting views on art and art history, exceptioanally interesting explanations of cause-effect , nicely narrated ( sophisticated yet comprehensible) , not to mention the quality of printing and of reproductions. One regret, I spent my yoouth in a communist country! Thank you all for this book!

While providing fascinating insight, Robert Hughes can be a bit pompous at times. The way that he sorted the works and artists can be confusing because he mixes artists of different periods, but makes sense overall because of the thematic elements of the works.this is a great addition to any artist's library, and invaluable for art history classes.

This book is a very interesting read. I have to use this as a textbook for a class, but it does not read as a typical textbook. It is very easy to understand for the average reader, and a great resource for anyone wanting to know more about modern art. I highly recommend it.

Excellent discussion and illustrations of modern art from the early Braque/Picasso period forward.

Robert Hughes is a brilliant art critic. ‘Shock of the New’ is organized in eight chapters that connect art movements with politics, technology, social and cultural change. A fan for many years, I heard him speak at a college in PA and talked with him, a memorable moment. I “must have” book for anyone interested in the visual arts.

Excellent read! This book doubles as a philosophical glimpse into how art can be a brilliant teacher and guide into the mystical aspects of existence. Thank you to the author for putting this piece of work together.

Following an afternoon at our Modern Art Museum, I picked up Robert Hughes' _Shock of the New_. Based off his 8 part BBC series of the same name, Hughes chronicles the history of modern art from the Impressionists to the Op and Pop art movements of the late 1960s. A former art critic for the New York Times, Hughes has an encyclopedic knowledge of modern art. His explaination of the influence of science, technology and events on art was lucid and brilliant, and gave me a much deeper and profound understanding of both broader artistic movements, but also individual artists and pieces. I was particularly pleased at being introduced to new artists: Bonnard, Boccioni, Kirchner, Stella and Hamilton.As critic, Hughes can be a bit sharp-tongued. An excerpt from the chapter on modern architecture: "Brasilia ... is an expansive and ugly testimony to the fact that when men think in terms of abstract space rather than real space ... they tend to produce miles of jerry-built nowhere, infested with Volkswagens." Similar scathing remarks abound, although to his credit, his strong opinions are all supported. In fact, I was often suprised at his statements, especially when he writes, "The modernist achievement's ... dynamic is gone, our relationship to it becoming history" - in otherwords, "modernism is dead."Admittedly we are in a "post-modernist" society, a world in which (to borrow from Hughes again), "we ourselves made .. the problem for art, then, is how to survive here." In this respect, the book is showing its age (it was first published in 1980). While I agree with Hughes that the political message of art has been destroyed and usurped by mass production, art remains avant garde, continues to push the social enevelope, and does what art should do: hold a mirror up to society's face and force us to look at ourselves, warts and all. Hyper-realism and performance art are only two of many examples of how art is evolving and surviving in the world we have made. All in all, though, an informative, insightful and enjoyable read.

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