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Book Synopsis

In April 1937, the Museum of Modern Art in New York hosted an exhibition that served as a catalyst for the appropriation of prehistoric rock art in postwar abstract painting. With the title Prehistoric Rock Pictures in Europe and Africa, it displayed a range of copies from the influential collection of the German ethnologist Leo Frobenius.

Largely disregarded in modern American art history up until now, this book highlights the importance of this exhibition to artists such as Josef Albers, Adolph Gottlieb, David Smith, and The American Abstract Artists group, who sought inspiration from the prehistoric images' primordial creativity. With a transnational scope, this book reveals new facts about the connections between Paris and New York, and the importance of communication and collaboration between them for these artists. In doing so, Seibert shows that this debate was about more than just legitimizing abstract art forms from the past, but about recognizing an autonomous Ameri

Prehistoric Pictures and American Modernism

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    A Paperback by Dr Elke Seibert

    £999.99

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      Book details

      Publisher Bloomsbury
      Imprint Bloomsbury Publishing PLC
      Published 29 January 2025
      ISBN-13 9781350418325
      978-1350418325

      Description

      Book Synopsis

      In April 1937, the Museum of Modern Art in New York hosted an exhibition that served as a catalyst for the appropriation of prehistoric rock art in postwar abstract painting. With the title Prehistoric Rock Pictures in Europe and Africa, it displayed a range of copies from the influential collection of the German ethnologist Leo Frobenius.

      Largely disregarded in modern American art history up until now, this book highlights the importance of this exhibition to artists such as Josef Albers, Adolph Gottlieb, David Smith, and The American Abstract Artists group, who sought inspiration from the prehistoric images' primordial creativity. With a transnational scope, this book reveals new facts about the connections between Paris and New York, and the importance of communication and collaboration between them for these artists. In doing so, Seibert shows that this debate was about more than just legitimizing abstract art forms from the past, but about recognizing an autonomous Ameri

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