Modern Painting And Sculpture: 1880 to Present at the Museum of Modern Art 
asked by 78704 on November 26, 2006 11:40 PM
The Museum of Modern Art houses the most important collection of 20th century art in the world, and the Painting & Sculpture department forms the core of its holdings. The masterworks from this department have fundamentally shaped the way we think about modern art. Over the years, these paintings and sculptures in the Museum's galleries have served as a walk-through textbook for countless art history classes and for other visitors. Now, on the occasion of its 75th anniversary and the opening of its newly expanded building, the Museum is publishing this 500 page catalogue devoted solely to the masterworks of its core department. The volume opens with an introduction by John Elderfield, Chief Curator of the Department of Painting and Sculpture, which traces the history of the Museum, focusing on its acquisitions. In 8 subsequent sections, anthologies of texts drawn from the Museum's archives and publications offer varying perspectives on specific artworks and on modern art in general. Painting and Sculpture at MoMA offers the reader a new perspective for anyone interested in modern art. Masterworks by Paul Cézanne, Vincent van Gogh, Paul Gauguin, Edvard Munch, Gustav Klimt, Wassily Kandinsky, Claude Monet, Henri Matisse, Pablo Picasso, Marc Chagall, Fernand Léger, Umberto Boccioni, Constantin Brancusi, Aleksander Rodchenko, Piet Mondrian, Georgia O'Keeffe, Marcel Duchamp, Giorgio de Chirico, Paul Klee, René Magritte, Max Ernst, Salvado Dalí, Alexander Calder, Joseph Cornell, Louise Bourgeois, Auguste Rodin, Amedeo Modigliani, George Grosz, Pierre Bonnard, Balthus, Edward Hopper, Willem de Kooning, Jackson Pollock, Mark Rothko, Frank Kline, Hans Hofmann, Helen Frankenthaler, Robert Rauschenberg, Cy Twombly, Ed Ruscha, Andy Warhol, Agnes Martin, Donald Judd, Sol LeWitt, Richard Serra, Eva Hesse, Gerhard Richter, and many, many more. Edited by John Elderfield. Clothbound, 9 x 12 in. / 504 pgs / 300 color.
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The extensive review by 'Spikey" is a most complete evaluation; so I will add only a little more:
I downrated this excellent book for the following reason: Unless one is writing a doctoral thesis on the 'day by day' and 'item by item' development of the rebult MOMA, he/she does not need 61 pages of detail. Perhaps this could have been published in a $1.00 (!) paperback; or condensed into half that amount of pages (and heavy coated paper at that!)
I differ with the previous reviewer in his/her unhappiness with the comment/evaluation of each displayed item: I have never seen another 'art/picture' book whose comments were other than the author/editor's. So reading someone else's comments on the work involved (even though reproduced from previous presentations) is unusual and valuable. Also many of us have not been able to see those previous exhibitions and do not have the associated brochures.
The comment on the lack of many scuptures is discussed in the book: Most are too large to be photographed.
By all means, buy the book -- especially to see (unless you live in the NY area) what has been accomplished by rebuilding the MOMA, and the more extensive art now able to be displayed.
I downrated this excellent book for the following reason: Unless one is writing a doctoral thesis on the 'day by day' and 'item by item' development of the rebult MOMA, he/she does not need 61 pages of detail. Perhaps this could have been published in a $1.00 (!) paperback; or condensed into half that amount of pages (and heavy coated paper at that!)
I differ with the previous reviewer in his/her unhappiness with the comment/evaluation of each displayed item: I have never seen another 'art/picture' book whose comments were other than the author/editor's. So reading someone else's comments on the work involved (even though reproduced from previous presentations) is unusual and valuable. Also many of us have not been able to see those previous exhibitions and do not have the associated brochures.
The comment on the lack of many scuptures is discussed in the book: Most are too large to be photographed.
By all means, buy the book -- especially to see (unless you live in the NY area) what has been accomplished by rebuilding the MOMA, and the more extensive art now able to be displayed.
reviewed by porsche on November 29, 2006 1:08 PM
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As part of MoMA's 75th Anniversary, this volume presents the very best of the Painting & Sculpture Department. The organization of this volume is quite different from most other art texts - the collection is broken into six eras, and further divided by the major artistic movements which define and represent it. A visual of each work discussed is presented separate from, and after, the descriptive text. This may or may not be helpful to all - those who like to read about and see art at the same time will not approve of this organization. Those who wish only to see the collection might appreciate the ability to view clear and vivid images grouped together. This "image only" crowd may also enjoy the juxtaposition of seeing Edward Hopper, Jacob Lawrence and Diego Rivera on successive pages - the entire book is full of these sequences of artists and movements.
I will say I was surprised to learn the descriptive texts were actually reprints from previous MoMA exhibitions. Although I was briefly confused, and slightly disappointed by this, I can say that the statements selected were excellent choices. For example, an anecdotal essay about a piece by Balthus reveals the reasoning for the artist's decision to alter the painting.
This book speaks volumes for MoMA's Painting & Sculpture Department, but by no means could it even come close to defining the entire collection. What I can say is that I get a very good sense, or a rough outline, as to what it means to view the collection. Despite my overall admiration for this book, I feel it could have done a better job presenting sculpture. Either this book does not depict as many pieces as possible, or sculptural pieces within the collection lack diversity; it appeared that most sculptural works were discussed in the final two sections (eras) of the book. I have no complaints otherwise and consider this book a quality piece and gain particular insight and understand from being able to see some familiar, and not so familiar, works placed side by side for the first time.
Just a note, the copy I own has a little insert admitting "Errata," although I doubt this book will see more than one hardback printing, see if your copy acknowledges errors on p. 328 and p. 441.
I will say I was surprised to learn the descriptive texts were actually reprints from previous MoMA exhibitions. Although I was briefly confused, and slightly disappointed by this, I can say that the statements selected were excellent choices. For example, an anecdotal essay about a piece by Balthus reveals the reasoning for the artist's decision to alter the painting.
This book speaks volumes for MoMA's Painting & Sculpture Department, but by no means could it even come close to defining the entire collection. What I can say is that I get a very good sense, or a rough outline, as to what it means to view the collection. Despite my overall admiration for this book, I feel it could have done a better job presenting sculpture. Either this book does not depict as many pieces as possible, or sculptural pieces within the collection lack diversity; it appeared that most sculptural works were discussed in the final two sections (eras) of the book. I have no complaints otherwise and consider this book a quality piece and gain particular insight and understand from being able to see some familiar, and not so familiar, works placed side by side for the first time.
Just a note, the copy I own has a little insert admitting "Errata," although I doubt this book will see more than one hardback printing, see if your copy acknowledges errors on p. 328 and p. 441.
reviewed by alec on November 29, 2006 3:06 PM