Sebastian Smee

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Sebastian Smee



Average rating: 3.99 · 3,700 ratings · 537 reviews · 23 distinct worksSimilar authors
The Art of Rivalry: Four Fr...

3.93 avg rating — 1,959 ratings — published 2016 — 29 editions
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Paris in Ruins: Love, War, ...

4.12 avg rating — 1,155 ratings8 editions
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Net Loss: The Inner Life in...

3.48 avg rating — 216 ratings — published 2018 — 4 editions
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Lucian Freud: Beholding the...

4.22 avg rating — 167 ratings — published 2000 — 21 editions
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Paris in Ruins: The Siege, ...

4.53 avg rating — 32 ratings2 editions
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Frame by Frame

4.23 avg rating — 13 ratings — published 2012 — 2 editions
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De kunst van de rivaliteit

4.20 avg rating — 5 ratings
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Side by side

really liked it 4.00 avg rating — 3 ratings — published 2002
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Lucian Freud 1996-2005

really liked it 4.00 avg rating — 2 ratings
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Le rovine di Parigi: La Com...

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it was amazing 5.00 avg rating — 1 rating
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More books by Sebastian Smee…
Quotes by Sebastian Smee  (?)
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“IF THERE IS A FUNDAMENTAL difference between rivalry in the modern era and rivalry in earlier epochs, as I believe there is, it is that in the modern era artists developed a wholly different conception of greatness. It was a notion based not on the old, established conventions of mastering and extending a pictorial tradition, but on the urge to be radically, disruptively original. Where did this urge come from? It was a response, most basically, to the new conditions of life—to a sense that modern, industrialized, urban society, although in some ways representing a pinnacle of Western civilization, had also foreclosed on certain human possibilities. Modernity, many began to feel, had shut off the possibility of forging a deeper connection with nature and with the riches of spiritual and imaginative life. The world, as Max Weber wrote, had become disenchanted. Hence”
Sebastian Smee, The Art of Rivalry: Four Friendships, Betrayals, and Breakthroughs in Modern Art

“A whole language, according to UNESCO, disappears on average every two weeks.”
Sebastian Smee

“In these now canonical pieces, Greenberg, following Trotsky, had insisted on the need for avant-garde art to retain its independence not only from bourgeois values, but also from explicitly leftist habits of thought: Only by retaining total independence, believed Greenberg, could art offer effective resistance to forces of standardization and control in society at large. To maintain this autonomy, he argued, progressive art had to burn away everything that was incidental to the medium itself. That meant ridding painting of its traditional preoccupation with creating illusions of three-dimensionality and depth. And it meant the end of all other gambits that were in less-than-total accord with the innate properties of the medium. The artwork, he believed, must be made to surrender to “the resistance of the medium.” To”
Sebastian Smee, The Art of Rivalry: Four Friendships, Betrayals, and Breakthroughs in Modern Art

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