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Artist or Critic?: Guy Pene du Bois ...

Rich, H. Alexander.

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Artist or Critic?: Guy Pene du Bois and the Search for Artistic Identity.

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	Artist or Critic?: Guy Pene du Bois and the Search for Artistic Identity./
作者:	Rich, H. Alexander.
面頁冊數:	355 p.
附註:	Source: Dissertation Abstracts International, Volume: 74-12(E), Section: A.
Contained By:	Dissertation Abstracts International74-12A(E).
標題:	Art History. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3591336
ISBN:	9781303319020

Artist or Critic?: Guy Pene du Bois and the Search for Artistic Identity.
Rich, H. Alexander.

Artist or Critic?: Guy Pene du Bois and the Search for Artistic Identity. - 355 p.

Source: Dissertation Abstracts International, Volume: 74-12(E), Section: A.

Thesis (Ph.D.)--New York University, 2013.

The story of twentieth century modern art is tied inextricably to Guy Pene du Bois (1884-1958) and his contributions as an artist and critic. Writing for publications like the New York American and the New Yorker and exhibiting his Realist paintings widely, Pene du Bois achieved acclaim as a young master in both his fields by the time he was thirty years old. Already by 1913 as a key planner behind the momentous Armory Show of that year, he had established himself not only as one of the most respected critical voices and purveyors of art scholarship to the public but also as a leading artist of the period. Yet, Pene du Bois is mostly forgotten today.

ISBN: 9781303319020Subjects--Topical Terms:

635474
Art History.

Artist or Critic?: Guy Pene du Bois and the Search for Artistic Identity.
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245 1 0 $a Artist or Critic?: Guy Pene du Bois and the Search for Artistic Identity.
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500 $a Source: Dissertation Abstracts International, Volume: 74-12(E), Section: A.
500 $a Adviser: Linda Nochlin.
502 $a Thesis (Ph.D.)--New York University, 2013.
520 $a The story of twentieth century modern art is tied inextricably to Guy Pene du Bois (1884-1958) and his contributions as an artist and critic. Writing for publications like the New York American and the New Yorker and exhibiting his Realist paintings widely, Pene du Bois achieved acclaim as a young master in both his fields by the time he was thirty years old. Already by 1913 as a key planner behind the momentous Armory Show of that year, he had established himself not only as one of the most respected critical voices and purveyors of art scholarship to the public but also as a leading artist of the period. Yet, Pene du Bois is mostly forgotten today.
520 $a Best known for his paintings of urban sophisticates attending opera or flappers dining in Parisian cafes, Pene du Bois was also a man with deepseated concerns about his identity and legacy. Much as his mannequin-like figures often seem ill at ease, clearly putting on airs and unnaturally performing their high-class identities, Pene du Bois continually felt like an actor stuck in the wrong role, never fully comfortable in either of his public personas. Even at the height of his critical career in the nineteen-teens, he yearned for greater recognition as an artist and for more time to devote to his first love: painting.
520 $a Thus, despite early success, for the first twenty-five years of his professional life, the ramifications of having a dual career and split public identity preoccupied Pene du Bois. With his legacy constantly in mind, he maneuvered carefully between his overlapping arenas of art and journalism, and this dissertation traces out how the choices he made --- aesthetically in his art and professionally in his career --- may have only exacerbated his lifelong concerns about his permanence in art history. Always aspiring for more and never satisfied with his present status in either field, it would take leaving not only his critical career behind but also America altogether in the 1920s to help Pene du Bois realize what his true identity was and to accept what his greatest legacy would be.
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