| Introduction | 6 |
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| A New View of the World – Technology and the Natural Sciences Change the Mechanistic World View | 6 |
| Expression and Fragmentation | 8 |
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| Matisse and the Wild Beasts in Paris: The Fauves and the Autonomy of Colour | 8 |
| Paula Modersohn-Becker and Tranquillity in Worpswede | 18 |
| Futurism: The Dynamisation of the Image | 22 |
| Expressionism and the Search for Contemporary Form | 28 |
| Cubism, Materiality, and Collage | 63 |
| Abstractions | 76 |
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| The Russian Avant-Garde | 76 |
| De Stijl: The Uniformity of the Painting Surface | 88 |
| The Bauhaus | 90 |
| One Turn of the Screw Tighter During World War I | 94 |
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| Dada and Its Surroundings | 94 |
| Explosive Visual Language | 98 |
| Veristic Tendencies | 100 |
| Surreal and Magical: Between the World Wars | 102 |
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| Pittura Metafisica | 102 |
| Surrealism | 104 |
| Magical Realism and the New Objectivity | 114 |
| Degenerate Art | 122 |
| Sculpture in the First Half of the 20th Century | 126 |
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| First Steps | 126 |
| The Fragmentation of Shape | 130 |
| Material Constructions | 140 |
| Bauhaus and De Stijl | 144 |
| Readymade and Surreal Objects | 146 |
| Homogenous as Nature | 154 |
| Architecture in the First Half of the 20th Century | 156 |
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| An Introductory Note | 156 |
| The U.S.A. | 158 |
| Europe During the First Two Decades | 166 |
| The'30s: Moscow, San Francisco, Nuremberg | 207 |
| New Beginnings on the International Scene after World War II | 214 |
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| The Realists | 216 |
| New York and Abstract Expressionism | 224 |
| Europe and Abstract Expressionism | 238 |
| Abstract Expressionist Sculpture | 250 |
| The Sixties: Close to Real Life | 254 |
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| Nouveaux Réalistes | 256 |
| Concrete Art | 262 |
| Op-Art and Kinetics: The View from the Centre | 286 |
| Pop Art | 292 |
| Nouvelle Figuration and New Realism | 309 |
| Photorealism | 316 |
| A Long Intermission: What You See Is What You See | 320 |
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| Minimal Art | 320 |
| Conceptual Art | 330 |
| Sensitisation of the Senses | 334 |
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| Campaigns, Happenings, Fluxus | 334 |
| Joseph Beuys | 336 |
| Arte Povera: Organic Energy | 336 |
| Natural Processes | 340 |
| Spurensicherung: Material Memory | 346 |
| Land Art: Ethereal Energies | 354 |
| Upheaval and Awakening | 356 |
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| From the '60s to the '80s | 356 |
| The New Expressivity | 358 |
| Painting as Painting – An Everlasting Language | 362 |
| Media | 374 |
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| Video and New Media | 374 |
| Photography: A Brief Look Back and Ahead | 382 |
| In the Wake of the Turn of the Millennium: Unknown Possibilities | 390 |
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| Sculpture and Readymades | 390 |
| Painting and Installations toward the End of the Millennium | 400 |
| Architecture in the Second Half of the 20th Century | 406 |
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| The First Two Decades after World War II | 406 |
| Cultural Buildings from the Late '50s to the Mid-'70s | 422 |
| Further Development of the Skyscraper: Four Examples | 430 |
| Parisian Cultural Buildings in the François Mitterrand Period | 438 |
| Postmodernism and Deconstruction | 444 |
| A New Sensibility | 452 |
| Berlin after Reunification | 458 |
| Architecture in the New Millennium | 472 |
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| A Brief Look Back and Ahead | 473 |
| The Gigantic Dimensions of Architecture in the Emirates | 476 |
| The Future: Subtle Architecture | 488 |
| Conclusion | 494 |
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| Bibliography | 497 |
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| Index | 500 |