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Growing up with the twentieth century, Alfred Barr (1902-1981), founding director of the Museum of Modern Art, harnessed the cataclysm that was modernism. In this book--part intellectual biography, part institutional history--Sybil Gordon Kantor tells the story of the rise of modern art in America and of the man responsible for its triumph. Following the trajectory of Barr's career from the 1920s through the 1940s, Kantor penetrates the myths, both positive and negative, that surround Barr and his achievements. Barr fervently believed in an aesthetic based on the intrinsic traits of a work of art and the materials and techniques involved in its creation. Kantor shows how this formalist approach was expressed in the organizational structure of the multidepartmental museum itself, whose collections, exhibitions, and publications all expressed Barr's vision. At the same time, she shows how Barr's ability to reconcile classical objectivity and mythic irrationality allowed him to perceive modernism as an open-ended phenomenon that expanded beyond purist abstract modernism to include surrealist, nationalist, realist, and expressionist art. Drawing on interviews with Barr's contemporaries as well as on Barr's extensive correspondence, Kantor also paints vivid portraits of, among others, Jere Abbott, Katherine Dreier, Henry-Russell Hitchcock, Philip Johnson, Lincoln Kirstein, Agnes Mongan, J.B. Neumann, and Paul Sachs.

Barr, Alfred H. Jr --- Art museum directors --- Barr, Alfred H., --- Museum of Modern Art (New York, N.Y.) --- History.

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"The story of Alfred Barr and Philip Johnson, two young men, now acknowledged as giants in the history of modernism, who changed the course of design in the United States. In the 1920s and 1930s a new aesthetic emerged in the United States, based on the principles of the Bauhaus in Germany: rational, functional design devoid of ornament and without reference to historical styles. Alfred H. Barr Jr., founding director of the Museum of Modern Art, and Philip Johnson, director of its architecture department, were the leading proponents of the modern approach. Using as their laboratories both MoMA and their own apartments in New York, Barr and Johnson experimented with new ideas in museum ideology, extending the scope beyond painting and sculpture to include design and film; with exhibitions of ordinary objects elevated to art by their elegant design; and with installations in dramatically lit galleries with smooth, white walls"--

Design --- Modernism (Aesthetics) --- 749.037 --- Kunstbeschouwing --- Industrieel design ; 1ste h. 20ste eeuw ; samenwerking A. Barr en Ph. Johnson --- Bauhaus --- MoMa --- Interieurarchitectuur ; meubeldesign ; architectuur ; 20ste eeuw --- Modernisme --- Johnson, Philip 1906-2005 (°Cleveland, Ohio, Verenigde Staten) --- Barr, Alfred Hamilton Jr. 1902-1981 (°Detroit, Michigan, Verenigde Staten) --- Aesthetics --- History --- Meubelkunst en design ; 1900 - 1950 --- Barr, Alfred H., --- Johnson, Philip, --- Johnson, Philip Cortelyou, --- Barr, Alfred Hamilton, --- Barr, Alfred H. --- Influence.

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Les disciplines scientifiques et littéraires sont généralement perçues dans ce qui les différencie, les divise et parfois même les oppose. Pensée scientifique et pensée poétique s’expriment dans des modes de discours bien distincts. Il arrive pourtant qu’elles se rejoignent : c’est quand la pensée ne peut plus s’exprimer dans le mode qui lui était propre et que, recourant à une mise en forme directe, elle grave dans un schéma – du plus simple au plus complexe – le chemin qui la ramènera vers la parole. On dit bien souvent : « une image vaut 100 000 mots » ou bien encore, plus familièrement : « je fais vous faire un dessin" . Parmi les « auteurs » nous retrouvons Goethe, Darwin, Leibnitz, Freud, P. Valery, W. Benjamin, J. Malaurie, C. Simon, F. Lang, I. Nabokov, R. Queneau, un schéma présentant Internet…

Thought and thinking in art --- Thought and thinking --- Drawing --- Pensée dans l'art --- Pensée --- Dessin --- Psychological aspects --- Aspect psychologique --- Sémiologie de l'image --- Sémiologie --- Croquis --- Processus de conception --- kunst --- tekenkunst --- schetsen --- ontwerp --- kunst en wetenschap --- Agassiz Jean Louis Rodolphe --- Averty Jean-Christophe --- Axelos Kostas --- Barr Alfred H. --- Belyj Andrej --- Benjamin Walter --- kunst en filosofie --- kunst en literatuur --- Beuys Joseph --- Cache Bernard --- Cunningham Merce --- Czapski Joseph --- Darwin Charles --- De Jonckheere Philippe --- Descartes René --- Dreyfus Alfred --- Fischli Peter --- Florenski Pavel --- Freud Sigmund --- Geve Thomas --- Goethe Johann Wolfgang --- Gould Augustus Addison --- Griaule Marcel --- Hirschhorn Thomas --- Hundertwasser Friedensreich --- Itten Johannes --- Kahn Louis I. --- Kentridge William --- Klee Paul --- Klucis Gustav --- Korzyksbi Alfred --- Lang Fritz --- Langlois Henri --- Lombardi Mark --- Malaurie Jean --- Marinetti Filippo Tommaso --- Martin Etienne --- Mendeleïev Dimitri --- de Montgolfier Jospeh Michel --- Nabokov Vladimir --- Nelson Theodor H. --- Ogotemmêli --- Otlet Paul --- Pairault Pierre --- Perec Georges --- Queneau Raymond --- Rekacewicz Philippe --- Rice Peter --- Ricoeur Paul --- Simon Claude --- Steiner Rudolf --- Steinweg Marcus --- Strickland Hugh E. --- Valéry Paul --- Vertov Dziga --- Vig Lars --- Villani Cedric --- Weiss David --- Wolfram Stephen --- Wul Stefan --- Xenakis Iannis --- Zanzotto Andrea --- 741.03 --- 741.036 --- Pensée dans l'art --- Pensée --- Barr Alfred H --- Kahn Louis I --- Nelson Theodor H --- Strickland Hugh E --- Mind --- Thinking --- Thoughts --- Educational psychology --- Philosophy --- Psychology --- Intellect --- Logic --- Perception --- Psycholinguistics --- Self --- Art