| Details | | Publication Date: | 1999-01-01 | | Edition Description: | Reissue |
| Size | | Length: | 384 pages | | Height: | 11.5 in | | Width: | 8.8 in | | Thickness: | 1.2 in | | Weight: | 61.6 oz |
Publisher's Note
Analyzing a vast array of works, this pioneering study provides the world with the first coherent narrative of the modern art movements in Eastern Europe.
This pioneering and award-winning study provides the world with the first coherent narrative of Eastern European contributions to the modern art movement. Analyzing an enormous range of works, from art centers such as Prague, Warsaw and Budapest, (many published here for the first time), S.A. Mansbach shows that any understanding of Modernism is essentially incomplete without the full consideration of vital Eastern European creative output. He argues that Cubism, Expressionism, and Constructivism, along with other great modernist styles, were merged with deeply rooted, Eastern European visual traditions. The art that emerged was vital modernist art that expressed the most pressing concerns of the day, political as well as aesthetic. Mansbach examines the critical reaction of the contemporary artistic culture and political state. A major groundbreaking interpretation of Modernism, Modern Art in Eastern Europe completes any full assessment of twentieth-century art, as well as its history. Modern Art in Eastern Europe is the recipient of the 1997 C.I.N.O.A. Prize, awarded by La Confederation Internationale de Negociants en Oeuvres d'Art.
Industry Reviews
Mansbach (National Gallery of Art) has written a comprehensive and pioneering study of the development of modern art Cubism, Expressionism, and Constructivism, among other styles in Eastern Europe. He argues that any discussion of Modernism is essentially incomplete without considering the art of this region and that the works produced there represented a merging of modernist styles with deeply rooted local traditions. Moving from Poland to the southern Balkans to Romania, he highlights art produced in Prague, Warsaw, and Budapest, cities with long artistic traditions. Mansbach is clearly well versed in his subject and provides informative background for the major areas he discusses. The book is illustrated with black-and-white photographs and a smaller number of high-quality color plates. Well written and thoroughly documented, it opens up an entirely new field of inquiry. It is to be hoped that Mansbach will investigate the period after 1939 with equal erudition in the future. Recommended for any library with a serious interest in modern art. Martin Chasin, Adult Inst., Bridgeport, CT
Dirda
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