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In this fundamental rethinking of the rise of modernism from its beginnings in the Impressionist movement, Robert Jensen reveals that market discourses were pervasive in the ideological defense of modernism from its very inception and that the avant-garde actually thrived on the commercial appeal of anti-commercialism at the turn of the century. The commercial success of modernism, he argues, depended greatly on possession of historical legitimacy. The very development of modern art was inseparable from the commercialism many of its proponents sought to transcend. Here Jensen explores the economic, aesthetic, institutional, and ideological factors that led to its dominance in the international art world by the early 1900s. He emphasizes the role of the emerging dealer/gallery market and of modernist art historiographies in evaluating modern art and legitimizing it through the formation of a canon of modernist masters. In describing the canon-building of modern dealerships, Jensen considers the new "ideological dealer" and explores the commercial construction of artistic identity through such rhetorical concepts as temperament and "independent art" and through such institutional structures as the retrospective. His inquiries into the fate of the juste milieu, a group of dissidents who saw themselves as "true heirs" of Impressionism, and his look at a new form of art history emerging in Germany further expose a linear, dealer- oriented history of modernist art constructed by or through the modernists themselves.

Art --- Art and design. --- Art criticism. --- Arts --- Criticism --- Design and art --- Design --- Marketing. --- Analysis, interpretation, appreciation --- Academic art. --- Aesthetic Theory. --- Aestheticism. --- Alfred Rethel. --- Alfred Sisley. --- Ambroise Vollard. --- Art Nouveau. --- Art for art's sake. --- Art museum. --- Arts and Crafts movement. --- Auguste Rodin. --- Avant-garde. --- Barbizon school. --- Berlin Secession. --- Berthe Weill. --- Camille Pissarro. --- Central Europe. --- Champfleury. --- Class action. --- Classicism. --- Contemporary art. --- Daniel-Henry Kahnweiler. --- Decadent movement. --- Der Blaue Reiter. --- Descriptive Catalogue (1809). --- Dreyfus affair. --- Edvard Munch. --- Frantz Jourdain. --- French art. --- Georges Seurat. --- Georges de La Tour. --- German Romanticism. --- German art. --- German idealism. --- Gustave Caillebotte. --- Gustave Courbet. --- Hans Makart. --- Harry Graf Kessler. --- Heinrich von Treitschke. --- Henri Fantin-Latour. --- Henri Matisse. --- Henry van de Velde. --- High modernism. --- Impressionism. --- International Style (architecture). --- Italian Renaissance painting. --- J. Alden Weir. --- Japonism. --- Juste milieu. --- L'Histoire. --- La Plume. --- La Revue Blanche. --- Le Figaro. --- Les Baigneuses (Gleizes). --- Louis Comfort Tiffany. --- Maison de l'Art Nouveau. --- Marcel Duchamp. --- Maximilien Luce. --- Mercure de France. --- Modern art. --- Modernism. --- Modernity. --- Munich Secession. --- Napoleon III. --- Nazism. --- Neo-impressionism. --- Neoclassical architecture. --- Neoclassicism. --- Orientalism. --- Palais de l'Industrie. --- Paul Delaroche. --- Paul Durand-Ruel. --- Paul Gauguin. --- Philosophy of Friedrich Nietzsche. --- Pierre-Auguste Renoir. --- Political Liberalism. --- Populism. --- Positioning (marketing). --- Post-Impressionism. --- Postmodernism. --- Renaissance art. --- Rococo. --- Romanticism. --- Salon d'Automne. --- Salon de la Rose + Croix. --- Salon des Cent. --- Siegfried Bing. --- Soziologie. --- The Barque of Dante. --- The Impressionists (BBC drama). --- The Realist. --- Thomas Couture. --- Trade fair. --- Use tax. --- Vienna Secession. --- Vittoria Colonna. --- William-Adolphe Bouguereau. --- École des Beaux-Arts. --- Émile Zola.