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The New York School versus the School of Paris

Who Really Made the Most Important Art after World War II

Bibliographic Data

ID11253308
AuthorsDavid W Galenson (National Bureau of Economic Research, corresponding author)
Year2002
Volume35
Issue4
Pages141-153
Publication date2002-01-01
Peer ReviewedYes
Open AccessNo
TypeARTICLE
VenueHistorical Methods A Journal of Quantitative and Interdisciplinary History (JOURNAL)
Journal identifiersISSN: 0161-5440 • E-ISSN: 1940-1906
PublisherInforma UK Limited (PUBLISHER • GB)
DOI10.1080/01615440209601204
OpenAlexW4236664760
LanguageEN
References cited4

American historians of modern art routinely assume that after World War II New York replaced Paris as the center of the western art world. An analysis of the illustrations in French textbooks shows that French art scholars disagree: they rate Jean Dubuffet as the most important painter of the era, ahead of Jackson Pollock, and they consider Yves Klein's anthropometries of 1960 as the greatest contribution of a single year, in front of Andy Warhol's innovations in Pop Art. Yet the French texts also show that the French artists' practices and conceptions of art paralleled those of the Americans. Thus, whereas French and American scholars disagree over the relative importance of their nations' artists, there is no disagreement that the most important art of the 1950s was produced by experimental seekers, and that of the 1960s by conceptual finders

Art · Art history · Art world · Contemporary art · First world war · Front (military · Geography · History of art · Humanities · Modern art · Painting · Performance art · Pollock · Visual art of the United States · Visual arts · World War II · Art History and Market Analysis · Classics · French Historical and Cultural Studies · Historical Studies and Socio-cultural Analysis · History · Architecture

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Citation velocityhistorical
Highly citedNo

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