“Forces Which Cannot Be Ignored”: Theodore Roosevelt's Reaction to European Modernism (notice n° 1650110)
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| control field | 20260208005009.0 |
| 041 ## - LANGUAGE CODE | |
| Language code of text/sound track or separate title | fre |
| 042 ## - AUTHENTICATION CODE | |
| Authentication code | dc |
| 100 10 - MAIN ENTRY--PERSONAL NAME | |
| Personal name | Levine, Stephen L. |
| Relator term | author |
| 245 00 - TITLE STATEMENT | |
| Title | “Forces Which Cannot Be Ignored”: Theodore Roosevelt's Reaction to European Modernism |
| 260 ## - PUBLICATION, DISTRIBUTION, ETC. | |
| Date of publication, distribution, etc. | 2008.<br/> |
| 500 ## - GENERAL NOTE | |
| General note | 95 |
| 520 ## - SUMMARY, ETC. | |
| Summary, etc. | RésuméIl n’est pas exagéré de dire que The 1913 International Exhibition of Modern Art, aussi appelée The Armory Show, est l’exposition d’art la plus importante de toute l’histoire américaine. Il s’agit de la véritable introduction de l’art européen moderne aux Etats-Unis, et son influence nationale est difficile à surestimer. Parmi les critiques d’art, mais aussi dans le monde intellectuel au-delà des critiques, elle suscite un débat animé sur le but de l’art et sa place dans la société américaine. Vu l’intérêt porté par Theodore Roosevelt à l’évolution culturelle, son nationalisme et sa passion pour l’art, il n’est pas étonnant qu’il ait participé à ce débat. Cet article cherche à analyser en détail le discours de Roosevelt sur cette exposition pour permettre une meilleure compréhension de cet épisode de l’histoire culturelle américaine et pour révéler une dimension mal connue de l’énigme intellectuelle souvent appelée simplement « TR ». Comme d’autres critiques conservateurs tels que Kenyon Cox, Roosevelt considère que l’art moderne abstrait est une rétrogression artistique. Il craint l’abstraction des artistes modernes européens parce qu’il croit que l’objectif premier de l’art est de transmettre l’identité nationale en reflétant les « traits nationaux » tout en restant accessible au grand public. Selon lui, les artistes américains devraient jouer le rôle d’agents de transmission culturelle, une mission plus essentielle que celle consistant à traiter des changements majeurs de la société moderne. Il croit également que les modernes essaient de tromper le public pour des raisons purement financières. The Armory Show, comme le débat qu’il suscite, nous permet d’appréhender les craintes de Roosevelt, ainsi que celles d’autres témoins de son époque. Nombre de chercheurs ont réinterprété le sens de l’exposition pour le peuple américain ou ce qu’elle révèle sur les courants artistiques de l’époque, mais l’idée que la signification du débat va au-delà du monde de l’art a été très peu explorée. |
| 520 ## - SUMMARY, ETC. | |
| Summary, etc. | “Forces Which Cannot Be Ignored”: Theodore Roosevelt’s Reaction to European Modernism The 1913 International Exhibition of Modern Art, also known as the Armory Show, was arguably the most important art exhibit ever held in the United States. The first major art exhibition in the United States to feature the works of European modernists such as Marcel Duchamp and Henri Matisse, the Armory show served as America’s introduction to modern art. Perhaps most interesting, the Armory Show generated a discussion among art critics about the purpose of art and its place in American society. Many scholars have acknowledged that this debate transcended the art world, that writers throughout the country identified the political, cultural, and economic ramifications of modern art. Considering Theodore Roosevelt’s concern about American cultural evolution, his sense of nationalism, and his understanding of the purpose and place of art in American society, it is no wonder that he took part in the debate, or that he took it seriously. By analyzing Roosevelt’s art-thought, and particularly his review of the Armory Show, “A Layman’s Views of an Art Exhibition,” this article contributes to the extensive scholarship on the Armory Show and on Roosevelt. His critique, contextualized with his other writings on art, demonstrates that he assigned to art the important function of reflecting and reinforcing national identity. The abstract art of the modernists, according to Roosevelt, could not serve this role. He therefore feared that a most important means of cultural transmission might be lost in an era when the maintenance of American cultural identity seemed to be in greatest jeopardy. Roosevelt took art seriously, and to view his critique of the Armory Show as anything less than a strong statement on the possible ramifications of modernism would be to ignore an entire facet of his intellect. |
| 690 ## - LOCAL SUBJECT ADDED ENTRY--TOPICAL TERM (OCLC, RLIN) | |
| Topical term or geographic name as entry element | Armory Show |
| 690 ## - LOCAL SUBJECT ADDED ENTRY--TOPICAL TERM (OCLC, RLIN) | |
| Topical term or geographic name as entry element | art moderne |
| 690 ## - LOCAL SUBJECT ADDED ENTRY--TOPICAL TERM (OCLC, RLIN) | |
| Topical term or geographic name as entry element | Association of American Painters and Sculptors (AAPS) |
| 690 ## - LOCAL SUBJECT ADDED ENTRY--TOPICAL TERM (OCLC, RLIN) | |
| Topical term or geographic name as entry element | cubisme |
| 690 ## - LOCAL SUBJECT ADDED ENTRY--TOPICAL TERM (OCLC, RLIN) | |
| Topical term or geographic name as entry element | Theodore Roosevelt |
| 690 ## - LOCAL SUBJECT ADDED ENTRY--TOPICAL TERM (OCLC, RLIN) | |
| Topical term or geographic name as entry element | Armory Show |
| 690 ## - LOCAL SUBJECT ADDED ENTRY--TOPICAL TERM (OCLC, RLIN) | |
| Topical term or geographic name as entry element | Association of American Painters and Sculptors (AAPS) |
| 690 ## - LOCAL SUBJECT ADDED ENTRY--TOPICAL TERM (OCLC, RLIN) | |
| Topical term or geographic name as entry element | Cubism |
| 690 ## - LOCAL SUBJECT ADDED ENTRY--TOPICAL TERM (OCLC, RLIN) | |
| Topical term or geographic name as entry element | modernism |
| 690 ## - LOCAL SUBJECT ADDED ENTRY--TOPICAL TERM (OCLC, RLIN) | |
| Topical term or geographic name as entry element | Theodore Roosevelt |
| 786 0# - DATA SOURCE ENTRY | |
| Note | Revue française d’études américaines | 116 | 2 | 2008-09-04 | p. 5-19 | 0397-7870 |
| 856 41 - ELECTRONIC LOCATION AND ACCESS | |
| Uniform Resource Identifier | <a href="https://shs.cairn.info/journal-revue-francaise-d-etudes-americaines-2008-2-page-5?lang=en&redirect-ssocas=7080">https://shs.cairn.info/journal-revue-francaise-d-etudes-americaines-2008-2-page-5?lang=en&redirect-ssocas=7080</a> |
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