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By Catherine Dossin

Within the upward thrust and Fall of yankee artwork, 1940s-1980s, Catherine Dossin demanding situations the now-mythic conception of recent York because the undisputed middle of the paintings global among the top of global conflict II and the autumn of the Berlin Wall, a place of strength that introduced the town status, cash, and old popularity. Dossin reconstructs the concrete components that ended in the shift of overseas recognition from Paris to ny within the Nineteen Fifties, and files how a "peripheriesa (TM) comparable to Italy, Belgium, and West Germany exerted a decisive effect in this displacement of energy. because the U.S. economic climate sank into recession within the Seventies, besides the fact that, American artists and buyers grew to become more and more depending on the aid of Western Europeans, and towns like Cologne and Turin emerged as significant advertisement and creative hubs - a improvement that enabled ecu artists to come to the leading edge of the overseas artwork scene within the Eighties. Dossin analyses intimately those altering distributions of geopolitical and symbolic energy within the Western artwork worlds - a narrative that spans continents, 40 years, and 1000s of actors. Her transnational and interdisciplinary examine presents an unique and welcome complement to extra conventional formal and nationwide readings of the interval

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69 But these exhibitions and awards were not representative of the situation of current French culture. They were, instead, part and parcel of the French attempt to preserve the fading image of la Belle France in the world—an endeavor whose success would eventually backfire, as we will see. 70 The memories of the war and the realities of the Cold War reshaped and intensified the debate between the champions of abstraction, who considered realism dated and fascist, and the champions of realism, who condemned the escapist attitude of abstract artists.

105 Likewise at the Palais des Beaux-Arts: if its director, Robert Giron, was partial to abstract art, he was not opposed to other artistic forms, and the program of exhibitions was rather inclusive. During the 1950–51 season, for instance, the Palais showed the Belgians Bonnet, van Lint, and Edgard Tytgat; the Mexican Rufino Tamayo; the Japanese Hiroshige; the Austrian Felix Wotruba; the collection of Peggy Guggenheim; an exhibition of the first School of Paris titled La peinture sous le signe d’Apollinaire; masterpieces from the Berlin museums; and shows of Italian books and stage design.

Picasso’s Guernica was the model for this revolutionary art: “Picasso in 1937 posed the problem. We look to Picasso as the most authentic example of those who have invented completely in life. ”42 the diversity of the postwar art worlds 23 In the years after the manifesto, the question of what form this revolutionary art should take became more urgent. In Italy, where Futurism and modernism were associated with fascism, a revolutionary (that is, antifascist) art could not look to modern art for its inspiration because of these associations.

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