Modern art in the USA: issues and controversies of the 20th century
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| Sprache: | English |
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[2001]
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| Beschreibung: | xviii, 478 Seiten Illustrationen |
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| 245 | 1 | 0 | |a Modern art in the USA |b issues and controversies of the 20th century |c Patricia Hills, Boston University |
| 264 | 1 | |a Upper Saddle River, New Jersey |b Prentice Hall |c [2001] | |
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Datensatz im Suchindex
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| adam_text | Modern
Art in the USA
Issues and Controversies
of the 20th Century
Patricia Hills
Boston University
Prentice
Hall
Upper Saddle River, New Jersey
07458
Contents
Preface
xv
chapter
1
mo-mo
ι
Cultural and Historical Context for the First Twenty Years
1
Early Twentieth-Century Realists
4
/ ♦
Giles Edgerton [Mary Fanton Roberts], The Younger American Painters, The
Craftsman
(1908) 5
2 ♦
Robert Henri, Progress in Our National Art
...,
The Craftsman
(1909) 7
3 ♦
John Sloan, Diaries
[1906, 1908, 1909, 1911, 1912],
John Sloan s New York
Scene
(1965) 9
The Critical Issues: Modernism and American Consciousness
11
4 ♦
Benjamin DeCasseres, Art: Life s Prismatic Glass, Camera Work
(1910) 13
5* ♦ Willard Huntington
Wright, Modern Painting: Its Tendency and Meaning
(1915) 14
é
♦
John
Weichsel,
Artists and Others,
Camera Work
(1914) 15
7 ♦
Marius DeZayas, African Negro Art: Its Influence on Modern Art
(1916) 17
8 +
W.
E. B.
Du Bois,
Of Our Spiritual Strivings, The Souls of Black Folk
(1903) 18
f -f
Robert
J.
Coady, American Art, The Soil
(1916) 20
New Forms for a New Century
21
10 ♦
Elie Nadelman,
Notes for a Catalogue, Camera Work
(1910) 22
11 ♦
Max Weber, The Fourth Dimension from a Plastic Point of View, Camera
И/о/*
(1910) 23
12 ♦
John
Marin,
Statement for
291
Exhibition, Camera Work
(1913) 24
13 ♦
William Murrell Fisher, The Georgia O Keeffe Drawings and Paintings at
291,
Camera Work
(1917) 25
vi
Contents
Photography as Art, Photography as a Tool for Reform
26
H
♦
Charles H. Caffin,
Photography
as a Fine Art
(1901) 27
15 ♦
Paul Strand, Photography, Camera Work
(1917) 29
fé
♦
Lewis
Hine,
Social Photography, Proceedings, National Conference of Char¬
ities and Correction
(1909) 30
Armory Show, Independents Show of
1917,
and New York
Dada
32
//■♦■Theodore Roosevelt, A Layman s Views of an Art Exhibition, The Outlook
(1913) 33
18 ♦
Arthur Jerome Eddy, Cubists and Post-Impressionism
(1914) 34
1f
♦
Marcel Duchamp, [On Nude Descending a Staircase], Collection of the
Société
Anonyme:
Museum of Modern Art
1920 (1950) 36
20 ♦
Paul B. Haviland, We are Living in the Age of the Machine,
291 (1915) 38
21 ♦
Marcel Duchamp, Alfred
Stieglitz,
Beatrice Wood, and Louise Norton, The
Blind Man
(1917) 39
22 ♦ Elsa von
Freytag-Loringhoven, Mefk
Maru Mustir
Daas,
The Little Review
(1918) 41
Chapter
2
The1f2Os
43
Cultural and Historical Context for the Jazz Age
43
Machine Age Modernism and Modernity
45
23 ♦
Joseph Stella, The Brooklyn Bridge, transition
(1929) 45
24 ♦
Louis Lozowick, The Americanization of Art, Machine-Age Exposition
(1927) 48
25 ♦
Samuel M. Kootz, Ford Plant Photos of Charles Sheeler, Creative Art
(1931) 50
26 ♦
William Carlos Williams, The Great Figure
(1921)
from Collected Poems
51
Cultural Nationalism—Defining American: The Usable Past, the Local, the
Popular
53
27 ♦
Van Wyck Brooks, On Creating a Usable Past,
The Dial
(1918) 56
28 ♦
Thomas Hart Benton, My American Epic in Paint, Creative Arts
(1928) 57
2f
♦
Marsden
Hartley, Adventures in the Arts
(1921 ) 59
SO
♦
Matthew
Josephson,
The Great American Billposter, Broom
(1922) 60
Contents
vii
Cultural
Primitivism
—
Defining Authenticity: The Usable Other and Natural
Men and Women
63
31 ♦
Holger Cahill,
America Has Its Primitives, International Studio
(1922) 65
32 ♦
Edward Alden Jewell, A Negro Artist Plumbs the Negro Soul [on Archibald
J. Motley, Jr.], The New York Times
(1928) 67
33 ♦
Benjamin DeCasseres, Introduction to Max Weber, Primitives: Poems and
Woodcuts
0926) 70
34 ♦
[Waldo Frank], Georgia O Keeffe: White Paint and Good Order, Time Ex¬
posures
(1926) 70
The New Negro
72
35 ♦
Alain Locke, The Legacy of the Ancestral Arts, The New Negro: An Inter¬
pretation
(1925) 73
3ś
♦
Langston
Hughes, The Negro Artist and the Racial Mountain, The Nation
(1926) 76
37 ♦
Augusta Savage, An Autobiography,
The Crisis
(1929) 79
Artists Abroad
81
38 ♦
Robert McAlmon, Leigh Hoffman, Pierre Loving, Berenice Abbott, Harry
Crosby, Why Do Americans Live in Europe? transition
(1928) 83
31 ♦
Stuart Davis, Letters from Paris
(1928-29) 85
Chapter
3
The 1130s
88
Cultural and Historical Context for the Depression Years
88
The Depression Experience
90
40 ♦
Raphael Soyer, An Artist s Experiences in the
1930s,
in Social Concern and
Urban Realism
(1983) 91
41 ♦
Philip Evergood, in John I. H. Baur, Interview with Philip Evergood,
Archives Whitney Museum of American Art
(1960) 94
42 ♦
Kenneth Fearing, American Rhapsody
(2) (1940)
from Collected Poems
(1977) 95
43 ♦
Jacob Lawrence, Interview
...
The
Toussaint
L Ouverture
Series
(1982) 97
Revolutionary Theory and Practice
—
The Search for Styles
99
44 ♦
John Reed Club, The World Crisis Expressed in Art
... (1933) 102
45 ♦
Stuart Davis, Why an Artists Congress? First American Artists Congress
(1936) 103
4ś
♦
Grace Clements, New Content
—
New Form, Art
Fronti
1936) 105
47 ♦
Louis Lozowick, Towards a Revolutionary Art, Art Front
(1936) 107
48 ♦
Isamu Noguchi, What sthe Matterwith Sculpture, / rf Fronf
(1936) 108
41 ♦
Berenice Abbott, Civic Documentary History, Proceedings of the
Conference on Photography
( 1940) 110
Mexican Artists in the United States
111
50 ♦
Diego Rivera, The Radio City Mural,
Workers Age
(1933) 112
51 ♦
E. B.
White, IPaintWhatlSee, The New Yorker
(1933) 115
52 ♦
André
Breton,
Frida Kahlo de
Rivera,
Surrealism and Painting
(1938) 116
Government Projects
118
53 ♦
Holger Cahill,
American Resources in the Arts
[1939
speechl in Art for the
Millions
(1973) 119
54 ♦
Gwendolyn Bennett, Harlem Community Art Center [circa
1939]
in Art for
the Millions
(1973) 122
55 ♦
Elizabeth Noble [Elizabeth McCausland],
Official Art,
Art Front
(1936) 123
56 ♦
Roy
Stryker,
Memorandum,
1942.
Farm Security Administration
125
Nationalism and Racialism in the Arts as Issues in the
1
930s
129
57 ♦
Thomas Craven, Modern Art: The Men, The Movements, The Meaning [on
Thomas Hart Benton]
(1934) 130
58 ♦
Stuart Davis,
Reviews: The New York American Scene in Art,
Art Front
(1935) 132
51 ♦
Romare Bearden,
The Negro Artist and Modern Art,
Opportunity
(1934) 134
60 ♦
Meyer Schapiro,
Race, Nationality and Art,
Art Front
(1936) 136
Chapter·
4
1140s to Mid- 1150s
140
Cultural and Historical Context for World War II and the Cold War
140
Critical Responses: The Transition to Abstract Expressionism and Pure Painting
144
61 ♦
Clement
Greenberg,
Abstract Art,
The Nation
(1944) 146
62 ♦
Harold Rosenberg, The American Action Painters,
Art News
(1952) 150
63 ♦
Thomas B.
Hess, de
Kooning Paints a Picture, Art News
(1953) 153
Contents ix
♦ Meyer Schapiro,
The Liberating Quality of
Avant-Garde Art, Art News
(1957) 157
New York
School: Voices of Individual Artists
160
¿5+
Arshile Gorky, Garden in Sochi [Artist s Statement,
1942],
Collection File,
The Museum of Modern Art
162
éé
♦
Norman Lewis, Thesis,
(1946) 163
¿7 ♦
Robert Motherwell, The Modern Painter s World,
DYN
(1944) 164
¿8 ♦
Mark Rothko, The Romantics Were Prompted,
possibilities
(1947-48) 168
СІ
♦
Jackson Pollock, My Painting.
..,
possibilities
(1947-48) 170
70 ♦
Barnett Newman, [Artist s Statement], in The Ideographic Picture
(1947) 171
71 ♦
Grace Hartigan, [Artist s Statement], in
12
Americans
(1956) 173
72 ♦
David Smith, Notes for David Smith Makes a Sculpture
[1951],
Art News
(1969) 174
The Figurative Artists in the Postwar Years
176
73 ♦
Henry Koerner, Interview
...
in Henry Koerner Retrospective Exhibition
(1971) 179
7f
♦
Elizabeth Catlett,
Negro Artists,
New Masses
(1946) 180
75 ♦
Milton Avery, Isabel Bishop and
44
other artists, Statement, Reality: A Jour¬
nal of Artists Opinions
(1953) 181
7ć
♦
Stephen Greene, [Artist s Statement], in The New Decade
(1955) 183
77 ♦
David Park quoted in Alfred Frankenstein, Northern California, Art in
America
(1954) 184
78 ♦
Leon
Golub,
[Artist s Statement], in New Images of Man
(1959) 186
The Cold War and the Arts
187
7f
♦
Representative George A. Dondero, Modern Art Shackled to Communism,
Congressional Record—House, 81st Congress
(1949) 190
80 ♦
Alfred H.
Barr,
Jr., Truth, Freedom, Perfection, What Is Modern Painting?
(1952) 193
81 ♦
File on Ben Shahn, Newark Branch, Federal Bureau of Investigation
(1951)
195
Chapters
1І55-1%7
198
Cultural and Historical Context for a Consumer and Technological Society
198
82 ♦
Allen Ginsberg, America
(1956),
from Collected Poems
1947-1980 202
χ
Contents
Assemblage, Installations, Happenings,
Events,
Performance
205
83 + Allan
Kaprów,
Happenings
in the New York Scene, Art News
(1961) 208
84 +
Claes
Oldenburg, I Am for an Art.
..
.Store Days
(1967) 211
85 ♦
George Maciunas, Manifesto
(1963) 216
8é
♦
Carolee
Schneemann,
I want the dancers
... 1963,
and Be Prepared
1966,
More Than Meat Joy
(1979) 216
New York Pop, West Coast Funk, and Chicago Sub-Pop
218
87 ♦
Robert
Rauschenberg,
[Artist s Statement], in Sixteen Americans
(1959) 220
88 ♦
Leo Steinberg, Contemporary Art and the Plight of Its Public [on Jasper
Johns,
1962]
in The New Art
(1966). 221
81 ♦
John Coplans, An Interview with Roy
Lichtenstein, Artforum
(1963) 226
10 ♦
G. R.
Swenson, What is Pop Art? [Interview with Andy Warhol], Art News
(1963) 227
11 +
Sidney Tillim, The Underground Pre-Raphaelitism of Edward
Kienholz, Art¬
forum ^966) 230
12 ♦ Franz Schulze,
Chicago, Art International
(1967) 232
Minimal Art
236
13 ♦
Carl Andre, Frank Stella, and Hollis Frampton photograph, in Sixteen
Americans
(1959) 238
14 ♦
Lucy R.
Lippard, ed.,
Questions to Stella and Judd
—
Interview by Bruce
Glaser, Art
News
(1966) 240
15♦
Robert Morris, Notes on Sculpture,
Artforum (1966) 243
1é
♦
Michael Fried, Shape as Form: Frank Stella s New Paintings,
Artforum
(1966) 245
17·¥
Lawrence Alloway, Agnes Martin,
Artforum (1973) 250
Chapters
1168-1180 253
Cultural and Historical Context for the Vietnam War Era
253
Dematerialization: Conceptual Art, Systems, Earth Art
256
18 ♦
Sol LeWitt, Paragraphs on Conceptual Art,
Artforum (1967) 259
11 ♦
Robert
Smithson,
A Sedimentation of the Mind,
Artforum (1968) 261
100
♦
Barbara Rose,
Problems of Criticism, IV: The Politics of Art,
Artforum (1969) 264
101 ♦
Lawrence Alloway, Introduction to Stolen [on Shusaku Arakawa]
(1970) 267
Contents xi
102 ♦ Lucy
R.
Lippard, Eva Hesse:
The Circle
[1971],
in From the Center
№76) 270
103 +
Calvin Tomkins, Christo s Public Art, in Running Fence
(1978) 272
Realism and Figuration
275
1OĄ+
Philip
Pearlstein,
Figure Painters Today Are Not Made in Heaven, Art News
(1962) 277
105 +
Alice Neel, in Alice
Л/ее/
(1983) 279
1Oé
+
Audrey Flack, Color, Audrey Flack on Painting
(1981) 280
107 +
Robert Bechtle, Artist s Statement [typescript],
(1973) 283
108+
Lowery Stokes Sims, Bob Colescott Ain t Just
Misbehavin ,
Artforum
(1984) 285
The Vietnam War, Political Art, Political Criticism
287
1ОІ
+
Lucy R. Lippard, Art Workers Coalition,
Studio International
(1970) 289
110 +
Guerrilla Art Action Group,
Communiqué
[street leaflet],
(1969) 293
111 +
Hans
Haacke, To All Interested Parties [press release],
(1971) 294
111 +
Max Kozloff and John Coplans, Art Is a Political Act, The Village Voice
(1976) 297
113 +
Joseph Kosuth, The Artist as Anthropologist,
The Fox
(1975) 300
♦
Donald B. Kuspit, in Art of Conscience: The Last Decade
(1981 ) 302
Black Arts Movement
305
115 +
Amiri
Baraka
[Le Roi Jones], A
Poem for
Black
Hearts,
Negro Digest
(1965) 307
116 + Larry Neal,
Any Day Now. Black Art and Black Liberation, Ebony
(1969) 308
117 +
Edmund B. Gaither, A New Criticism Is Needed, The New York Times
(1970) 312
118 +
Michele
Wallace, For the Women s House
[1972
interview with Faith
Ringgold],
Invisibility Blues
(1990) 313
Women s Movement
316
+
Lucy R. Lippard, Judy Chicago Talking to Lucy R. Lippard,
Artforum
(1974) 319
120 +
Harmony Hammond, Feminist Abstract Art
—
A Political Viewpoint, Here¬
sies
(1977) 322
121 +
Betsy Damon, The
7000
Year Old Woman, Heresies
(1977) 325
122 +
Moira
Roth, Visions and Re-Visions,
Artforum (1980) 327
123 +
May Stevens, Taking Art to the Revolution, Heresies
(1980) 332
xii Contents
Chapter
7 1180s -
mos
335
Cultural and Historical Context for the Age of Reagan and Postmodernism
335
Exit Modernism, Enter Postmodern Critique
338
124 +
Kim Levin, Farewell to Modernism, Arts
(1979) 339
125+
Peter
Halley,
Nature and Culture,
Arts
(1983) 343
12s
+
Hal Foster, Whatever Happened to Postmodernism? in The Return of the
ReakThe
Avant-Garde
at the End of the Century
(1996) 346
127 +
Robert
С
.
Morgan, The End of the Art World
(1998) 349
New Painting and Sculpture
352
128 +
Susan Rothenberg, [Artist s Statement], in New Image Painting
(1978) 356
12f
+
Christopher Knight, Popeye Meets Picasso in MoCA Survey [on Elizabeth
Murray] Los Angeles Herald Examiner
(1987) 357
130+
Rene
Ricard,
The Radiant Child [on Jean-Claude Basquiat],
Artforum
(1981) 359
131 +
Jonathan P. Binstock, Mark Tansey, in American Kaleidoscope
(1996) 361
132 +
Robert Storr, The Matter at Hand,
in Louise Bourgeois
(1989/1995) 364
Word-Based, Photo-Based, and Theory-Based Art
366
133 +
Douglas Crimp, Pictures [on Cindy Sherman, Robert
Longo,
Sherrie
Levine],
October
(1979) 367
134 +
Sheila Tebbatt, Women in Theory [on Barbara Kruger], Ten
8 (1988) 372
135+
Kate Linker, Went Looking for Africa: Carrie Mae Weems,
Artforum
(1993) 376
Identities Unmasked, Classifications Resisted
380
136 +
Judith Wilson, Seventies into Eighties
—
Neo-Hoodooism vs. Postmod¬
ernism: When (Art) Worlds Collide [on David Hammons], in The Decade
Show
(1990) 383
137 +
Edgar Heap of Birds, Sharp Rocks
(1986) 386
138 +
Guillermo Gómez-Peña,
Documented/Undocumented, Greywolf Annual
Five
(1988) 389
131 +
Margo
Machida, in
Asia/America: Identities in Contemporary Asian Ameri¬
can Art [on Tseng Kwong Chi],
(1994) 392
James Hannaham, The Shadow Knows: An Hysterical Tragedy of One Young
Negress and Her Art [on Kara Walker], in New Histories
(1996) 395
Contents xiii
141 +
Deborah Bright, The Passionate Camera: Photography and Bodies of Desire
(1998) 398
Bodies Reclaimed
400
142 ♦
Lowery Stokes Sims, Hannah Wilke: The Body Politic , in Art and Ideol¬
ogy
(1984) 402
143+
Robin Winters, An Interview with
Kiki
Smith, in
Kiki
Smith
(1990) 405
James Luna, The Artifact Piece,
Fiction International
(1988) 406
Censorship and Propaganda in Art and Visual Culture
408
145+
Elizabeth
Siseo,
Louis Hock, David Avalos Welcome to America s Finest
Tourist Plantation, San Diego Transit Bus placard
(1988) 414
146+
Michael Brenson/ The Many Roles of Mapplethorpe,
The New York Times
(1989) 415
147+
Rudolf Baranik, DIS-IN-FOR-MA-TION, in Disinformation: The Manufac¬
ture of Consent
(1984) 418
148+
Patricia Johnston, War Stories: Narrative Reporting of the Gulf War,
Views:The Journal of Photography in New England
(1991 ) 419
141+
Bill Viola, Statement
1992,
Reasons for Knocking at an Empty House
(1995) 422
The Construction of Knowledge: Museums, Art History, and Studio Practices
423
150 + Alan Wallach,
Revisionism Has Transformed Art History but Not Muse-
ums ll
992],
Exhibiting Contradiction
(1998) 425
151 +
Martha Buskirk, Interview with Fred Wilson, October
(1994) 427
152 +
Mark Miller Graham, The Future of Art History and the Undoing of the
Survey,
Art Journal
(1995) 430
153 +
Amalia
Mesa-Bains, Teaching Students the Way They Learn, in Contem¬
porary Art and Multicultural Education
(1996) 432
Art in Public Spaces
433
154+
Hayden
Herrera,
A Conversation with the Artist, in Joyce Kozloff: Vision¬
ary Ornament
(1986) 436
155+
Elizabeth Hess, An Interview with Maya Lin
[1983],
in Unwinding the
Vietnam War
(1987) 439
156 + Alan Wallach,
Editorial: Which Way the Tilted Arc? Art and Artists
(1985) 442
xiv Contents
157 ♦ Marcos
Sánchez-Tranquilino,
Murales
del Movimiento:
Chicano
Murals and
the Discourses of Art and Americanization, in Signs from the Heart: Cali¬
fornia
Chicano
Murals
(1996) 445
158 ♦
Guerrilla Girls, The Advantages of Being a Woman Artist,
(1988),
and Do
Women Have to Be Naked to Get into the Met. Museum?
(1989) 449
15І
♦
Gran Fury, The Government Has Blood on Its Hands
(1988) 451
1ŚO
♦
Suzanne Lacy,
Comments on Code
33:
Emergency Clear the Air
(2000) 452
For Further Reading
455
Acknowledgments
463
Additional Credits
465
Index
469
|
| any_adam_object | 1 |
| author | Hills, Patricia 1936- |
| author_GND | (DE-588)137062435 |
| author_facet | Hills, Patricia 1936- |
| author_role | aut |
| author_sort | Hills, Patricia 1936- |
| author_variant | p h ph |
| building | Verbundindex |
| bvnumber | BV017735012 |
| callnumber-first | N - Fine Arts |
| callnumber-label | N6512 |
| callnumber-raw | N6512 |
| callnumber-search | N6512 |
| callnumber-sort | N 46512 |
| callnumber-subject | N - Visual Arts |
| classification_rvk | LO 94030 |
| ctrlnum | (OCoLC)44173077 (DE-599)BVBBV017735012 |
| dewey-full | 700.9730904 |
| dewey-hundreds | 700 - The arts |
| dewey-ones | 700 - The arts |
| dewey-raw | 700.9730904 |
| dewey-search | 700.9730904 |
| dewey-sort | 3700.9730904 |
| dewey-tens | 700 - The arts |
| discipline | Kunstgeschichte |
| era | Geschichte 1900-2000 Geschichte 1900-2000 gnd |
| era_facet | Geschichte 1900-2000 |
| format | Book |
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| genre_facet | Einführung Quelle |
| geographic | USA (DE-588)4078704-7 gnd |
| geographic_facet | USA |
| id | DE-604.BV017735012 |
| illustrated | Illustrated |
| indexdate | 2024-07-09T19:21:18Z |
| institution | BVB |
| isbn | 0130361380 9780130361387 |
| language | English |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-010658812 |
| oclc_num | 44173077 |
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| owner_facet | DE-19 DE-BY-UBM DE-255 DE-473 DE-BY-UBG DE-188 |
| physical | xviii, 478 Seiten Illustrationen |
| publishDate | 2001 |
| publishDateSearch | 2001 |
| publishDateSort | 2001 |
| publisher | Prentice Hall |
| record_format | marc |
| spelling | Hills, Patricia 1936- Verfasser (DE-588)137062435 aut Modern art in the USA issues and controversies of the 20th century Patricia Hills, Boston University Upper Saddle River, New Jersey Prentice Hall [2001] xviii, 478 Seiten Illustrationen txt rdacontent n rdamedia nc rdacarrier Geschichte 1900-2000 Geschichte 1900-2000 gnd rswk-swf Art, American 20th century Sources Kunst (DE-588)4114333-4 gnd rswk-swf USA (DE-588)4078704-7 gnd rswk-swf (DE-588)4151278-9 Einführung gnd-content (DE-588)4135952-5 Quelle gnd-content USA (DE-588)4078704-7 g Kunst (DE-588)4114333-4 s Geschichte 1900-2000 z DE-604 KUBIKAT Anreicherung application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=010658812&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Hills, Patricia 1936- Modern art in the USA issues and controversies of the 20th century Art, American 20th century Sources Kunst (DE-588)4114333-4 gnd |
| subject_GND | (DE-588)4114333-4 (DE-588)4078704-7 (DE-588)4151278-9 (DE-588)4135952-5 |
| title | Modern art in the USA issues and controversies of the 20th century |
| title_auth | Modern art in the USA issues and controversies of the 20th century |
| title_exact_search | Modern art in the USA issues and controversies of the 20th century |
| title_full | Modern art in the USA issues and controversies of the 20th century Patricia Hills, Boston University |
| title_fullStr | Modern art in the USA issues and controversies of the 20th century Patricia Hills, Boston University |
| title_full_unstemmed | Modern art in the USA issues and controversies of the 20th century Patricia Hills, Boston University |
| title_short | Modern art in the USA |
| title_sort | modern art in the usa issues and controversies of the 20th century |
| title_sub | issues and controversies of the 20th century |
| topic | Art, American 20th century Sources Kunst (DE-588)4114333-4 gnd |
| topic_facet | Art, American 20th century Sources Kunst USA Einführung Quelle |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=010658812&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
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