"The Mysticism of Money's drives to make art relevant to industrial society. With this context in hand, Hemingway looks closely at the artist's espousal of Precisionism, the hard-edged style often regarded as an apolitical American variant on Cubism. By contrast, Hemingway contends it served some artists as a vehicle for portraying the dehumanizing consequences of the industrial regime.
His book revolves around the notion that the anti-capitalism of Ault, Hirsch, and Lozowick functioned as a kind of "romance": Precisionist Painting and Machine Age America

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George Ault? Stefan Hirsch? Louis Lozowick? Names of little significance except to specialists in American art of the 1920s and 1930s. But neither Ault nor Hirsch nor Lozowick is a marginal artist if the scope of Modernist culture in America is broadened to include proponents of leftist politics. Then, Andrew Hemingway demonstrates, their paintings acquire great importance as critical representations of the capitalist system. Hemingway is a masterful guide to the discussions and publications that fed some artist" based on the opposition of the natural to the artificial or reified. No prior book offers such a provocative (and timely) account of the development of Precisionist painting. it is made all the more valuable by its consideration of the writings of John Dos Passos, Sinclair Lewis, and Theodore Dreiser.
George Ault? Stefan Hirsch? Louis Lozowick? Names of little significance except to specialists in American art of the 1920s and 1930s. But neither Ault nor Hirsch nor Lozowick is a marginal artist if the scope of Modernist culture in America is broadened to include proponents of leftist politics. Then, Andrew Hemingway demonstrates, their paintings acquire great importance as critical representations of the capitalist system. Hemingway is a masterful guide to the discussions and publications that fed some artist" based on the opposition of the natural to the artificial or reified. No prior book offers such a provocative (and timely) account of the development of Precisionist painting. it is made all the more valuable by its consideration of the writings of John Dos Passos, Sinclair Lewis, and Theodore Dreiser.

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Andrew Hemingway

Stimmen zu »"The Mysticism of Money's drives to make art relevant to industrial society. With this context in hand, Hemingway looks closely at the artist's espousal of Precisionism, the hard-edged style often regarded as an apolitical American variant on Cubism. By contrast, Hemingway contends it served some artists as a vehicle for portraying the dehumanizing consequences of the industrial regime.
His book revolves around the notion that the anti-capitalism of Ault, Hirsch, and Lozowick functioned as a kind of "romance": Precisionist Painting and Machine Age America«

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