MARC record from Internet Archive

LEADER: 05402cam 22009374i 4500
001 ocm65201244
003 OCoLC
005 20211013071517.0
008 060316s2007 caua b 001 0 eng
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042 $apcc
043 $an-us-ny
046 $o1932$p1937
050 00 $aN6490$b.M832 2007
082 00 $a709/.04$222
100 1 $aMumford, Lewis,$d1895-1990,$eauthor.
245 10 $aMumford on modern art in the 1930s /$cedited and with an introduction by Robert Wojtowicz.
264 1 $aBerkeley ;$aLos Angeles ;$aLondon :$bUniversity of California Press,$c[2007]
300 $axii, 265 pages :$billustrations ;$c24 cm
336 $atext$btxt$2rdacontent
337 $aunmediated$bn$2rdamedia
338 $avolume$bnc$2rdacarrier
386 $mGender group:$ngdr$aMen$2lcdgt
386 $mOccupational/field of activity group:$nocc$aArt critics$2lcdgt
490 1 $aAn Ahmanson-Murphy fine arts book
500 $a"Ahmanson Murphy fine arts imprint"--Page i.
500 $aSelection of articles originally published in the New Yorker, 1932-1937.
504 $aIncludes bibliographical references and index.
505 0 $a1932-1933 ---- 1933-1934 ---- 1934-1935 ---- 1935-1936 ---- 1936-1937.
520 $aAlthough Lewis Mumford is widely acknowledged as the seminal American critic of architecture and urbanism in the twentieth century, he is less known for his art criticism. He began contributing to this field in the early 1920s, and his influence peaked between 1932 and 1937, when he was art critic for the New Yorker. This book, for the first time, assembles Mumford's important art criticism in a single volume. His columns bring wit and insight to bear on a range of artists, from establishment figures like Matisse and Brancusi to relatively new arrivals like Reginald Marsh and Georgia O'Keeffe. These articles provide an unusual window onto the New York art scene just as it was casting off provincialism in favor of a more international outlook. On a deeper level, the columns probe beneath the surface of modern art, revealing an alienation that Mumford believed symptomatic of a larger cultural disintegration. Many of the themes Mumford addresses overlap with those of his more familiar architectural criticism: the guiding role of the past in stimulating creativity in the present, the increasing congestion of the modern metropolis, the alarming lack of human control over modern technology, and the pressing need to restore organic balance to everyday living. Though he was open to new movements emanating from Europe, Mumford became the chief advocate of a progressive American modernism that was both socially aware and formally inventive.
630 00 $aNew Yorker (New York, N.Y. : 1925)
650 0 $aArt, Modern$y20th century.
650 0 $aArt criticism$zNew York (State)$zNew York$xHistory$y20th century.
630 06 $aNew Yorker (New York, N.Y. : 1925)
650 6 $aArt$y20e siècle.
650 6 $aCritique d'art$zNew York (État)$zNew York$xHistoire$y20e siècle.
630 07 $aNew Yorker (New York, N.Y. : 1925)$2fast$0(OCoLC)fst01788224
650 7 $aArt criticism.$2fast$0(OCoLC)fst00815492
650 7 $aArt, Modern.$2fast$0(OCoLC)fst00816615
651 7 $aNew York (State)$zNew York.$2fast$0(OCoLC)fst01204333
650 7 $aKunst$2gnd
650 7 $aKunstkritik$2gnd
650 7 $aArt, Modern$y20th century.$2nli
650 7 $aArt criticism$zUnited States$y20th century.$2nli
600 17 $aMumford, Lewis.$2swd
630 07 $aNew Yorker.$2swd
651 7 $aNew York <NY>$2swd
648 7 $a1900-1999$2fast
655 7 $aHistory.$2fast$0(OCoLC)fst01411628
700 1 $aWojtowicz, Robert,$eeditor,$ewriter of introduction.
730 0 $aNew Yorker (New York, N.Y. : 1925)
830 0 $aAhmanson-Murphy fine arts book.
856 41 $3Table of contents$uhttp://catdir.loc.gov/catdir/toc/ecip0610/2006009142.html
856 42 $3Contributor biographical information$uhttp://catdir.loc.gov/catdir/enhancements/fy0735/2006009142-b.html
856 42 $3Publisher description$uhttp://catdir.loc.gov/catdir/enhancements/fy0641/2006009142-d.html
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