Bram Dijkstra

Surveys the history of the nude in American art, photography, and popular culture.

Presenta un análisis del Movimiento Expresionista Americano que prosperó en los Estados Unidos principalmente durante los años 1920 y los años 1930, mirando las preocupaciones sociales expresadas en pinturas del período, y hablando del papel del gobierno en la primera ayuda, luego suprimiendo la forma de arte. Incluye más de doscientas ilustraciones.

Georgia O'Keeffe has long been recognized as one of America's most adventurous early modernist artists. But critics often suggest that she became a revolutionary despite her American background, not because of it. Bram Dijkstra challenges that point of view. In this searching reappraisal of O'Keeffe's work, the distinguished cultural historian shows that her art was decisively shaped by the America in which she grew up. In doing so, he casts new light on the facts of O'Keeffe's remarkable life and offers incisive new readings of many of her most important paintings.

In the years around 1900, an unprecedented attack on women erupted in virtually every aspect of culture: literary, artistic, scientific, and philosophic. Many of the anti-feminine platitudes that today still constrain women's potential were first formulated during this period, as intellectuals of every stripe throughout Europe and America banded together to picture women as static beings whose sole function was sexual and reproductive. This text explores the nature and development of turn-of-the-century misogyny in the works of hundreds of writers, artists, and scientists, including such figures as Zola, Strindberg, Wedekind, Henry James, Rossetti, Renoir, Maurois, Klimt, Darwin, and Spencer, not to mention a host of now-forgotten others.