Progrès, modernité et loi du marché dans l'évolution de la sculpture américaine avant 1939

• Autores: Véronique Wiesinger
• Localización: Revue de l'art, ISSN 0035-1326, Nº. 104, 1994 (Ejemplar dedicado a: Sculpture XIXe siècle), págs. 55-61
• Idioma: francés
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• Resumen

  • Though it lacked a sculptural tradition of its own, the United States had come to the forefront of modernity in sculpture in one century and a half. Assimilating the teaching of Italy and then France while adapting them to its own needs in the 19th century, the country had reached artistic maturity when it began to dominate the world economically from the first world war onwards. Benefitting from a more open concept of modernity than in Europe, protected by the ostracism of import networks in European modernity, more concerned with painting, the school of sculpture followed an original line of development in the interwar period, based mainly on indigenous sources of inspiration such as American popular art and on the inventive genious characteristic of a nation of pioneers, preachers and traders. Whether their work is based on the figure or the objet, the creative works of Americans such as Alexander Calder or David Smith, or of immigrants such as Elie Nadelman or Gaston Lachaise, can only be understood within this specifically American background. Unfortunately, the modernist credo propagated in the 1950s has prevented the European public from fully appreciating the diversity of American modern art before 1939