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008			251016s2026 gw sb 001 0 eng d
020			_a9789004720954 _q(electronic book)
020			_z9789004720947 _q(print)
024	7		_a10.1163/9789004720954 _2DOI
040			_aNL-LeKB _cNL-LeKB _erda
041			_aeng
050		4	_aN5305
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072		7	_aART _x015000 _2bisacsh
082	0	4	_a709 _223
100	1		_aJoyeux-Prunel, Béatrice, _eauthor.
245	1	4	_aThe Rise of the Avant-Gardes 1848-1918 : _bA Transnational History / _cBéatrice Joyeux-Prunel.
246	3		_aA Transnational History
264		1	_aLeiden ; _aBoston : _bBrill, _c2026.
264		4	_c©2026
300			_a1 online resource (500 pages) : _billustrations.
336			_atext _btxt _2rdacontent
337			_acomputer _bc _2rdamedia
338			_aonline resource _2rdacarrier
490	1		_aAvant-Garde Critical Studies ; _v48
490	1		_aLiterature and Cultural Studies E-Books Online, Collection 2026
504			_aIncludes bibliographical references and index.
505	0		_tContents -- Preface -- List of Figures and Tables -- Introduction: What Is the Avant-Garde? -- 1 A Sociological Definition -- 2 An Anachronism? -- 3 The Avant-Garde: More Modern than the Moderns? -- 4 A Difficult Autonomy -- 5 On the Ideology of Avant-Gardism -- 6 What about Paris? The Geopolitics of the Avant-Garde -- Part 1 Moderns versus Ancients? From Opposition to Recognition, 1848–1889 -- 1 The Crisis in the French Art System -- 1 When Was the Avant-Garde Born? -- 2 An Unpopular Academic System -- 3 The Realist Avant-Garde Takes on the National -- 4 How to Survive and Stay Independent? The Solutions of the 1863 Generation -- 2 Impressionism between Intransigence and Adaptation -- 1 A Loose Grouping (1874–1879) -- 2 Was There an Impressionist “Style”? -- 3 “Impressionism? It’s Putting on Gloves …” -- 3 Towards an International Market (1885–1889) -- 1 The Art Dealers’ Takeover of Impressionism -- 2 Independent Art and Its New Status -- 3 New Collectors for Impressionist Painting -- 4 Conclusion: Achievement or Disappointment? Cézanne and the Contradictions of Impressionism -- Part 2 The Era of “Secessions” -- 4 ONE Europe, ONE Modern Art? The Artistic Elite, 1885–1905 -- 1 The Avant-Garde as Success: Brussels-Paris-London -- 2 The Europe of the Secessions: Internationalism and Nationalism -- 3 Secessionism, a System Closed to Innovation -- 5 Outdoing Each Other (1885–1895) -- 1 Parisian Impressionism’s Difficult Succession -- 2 New Alliances -- 3 The Artist as Scapegoat -- 6 The Modernist Consolidation of the Fin de Siècle -- 1 Symbolism: Questioning or Renewing the Avant-Garde? -- 2 European Recognition of Symbolism and Its Effect on the Avant-Garde -- 3 The Hope of the Applied Arts -- 4 1900: Modernism in National Rivalries -- Part 3 The Crisis of European Modernism, 1903–1909 -- 7 From Bottleneck to Explosion -- 1 The New Generation’s Malaise -- 2 Forms of the Crisis in Paris: Fauvism -- 3 The Secession Crisis in Germany and the Birth of Expressionism -- 8 The Renewal of the Parisian Avant-Garde Scene -- 1 A New Logic of Innovation -- 2 The Parisian Avant-Garde, an Ebullient Micro-Society -- Part 4 The International Art War, 1905–1914 -- Introduction to Part 4 -- 9 The Nationalist Danger -- 1 Double-Edged Media Coverage -- 2 The Parisian Avant-Garde’s Nationalist Slide -- 10 A New Geopolitics of the Avant-Garde -- 1 With or without Paris? Challenging Modern Internationalism in Europe -- 2 The View from Central Europe: a Disconnected Periphery? -- 3 Germany, a New Home for the International Avant-Gardists? -- 11 Double-Edged Internationalization -- 1 Parisian Merchants Choose the International -- 2 Those Promoting This Internationalization -- 3 The War of the New European Avant-Gardes -- Part 5 Between Fire and Order: the Trial of the Great War -- Introduction to Part 5 -- 12 The Parisian Avant-Garde War -- 1 Contrition -- 2 The Sacred Union of the Modern -- 3 Artistic Recovery and Its Limits -- 13 The German Avant-Garde in Revolt -- 1 At the Heart of the War -- 2 Youth in Crisis -- 3 Art in Revolution -- 4 A Reconciliation of Avant-Garde Visual Art and Politics? -- 14 Diasporas of Despair -- 1 Acedia -- 2 New York: Recess or Refoundation? -- 3 The Big Shift: Dada, Zurich, 1916–1918 -- Epilogue: on the Threshold of a New History? -- Bibliography -- Index.
520			_aWhy did modern painting flourish in Paris, Vienna, or Brussels but stall in London or Madrid? What propelled some avant-gardes to global fame while others vanished? This book takes you inside modern art’s explosive rise between 1848 and 1918, revealing how artists navigated nationalism, markets, elite networks, and public demands to invent new ways of making—and living—art. Forget the myth of isolated geniuses. Here, avant-gardes cross borders via dealers, journals, exhibitions, and exiles. Follow their journey from Paris to Moscow, Barcelona, and New York through alliances, rivalries, and migrations. Richly illustrated with artworks, maps, and charts, this is art history reimagined—transnational, social, and vividly alive.
546			_aEnglish
588			_aDescription based on print version record.
650		0	_aArt History.
650		0	_aHistory.
776	0	8	_iPrint version: _tThe Rise of the Avant-Gardes 1848-1918 : A Transnational History. _dLeiden ; Boston : Brill, 2026. _z9789004720947 _w(OCoLC)1535060425
830		0	_aAvant-Garde Critical Studies ; _v48.
830		0	_aLiterature and Cultural Studies E-Books Online, Collection 2026.
856	4		_zDOI: _uhttp://dx.doi.org/10.1163/9789004720954
999			_c46618 _d46618