"Like the great German critic Walter Benjamin, Rosenberg is a master of dialectics whose sense of art is continuous with his sense of society, and (also like Benjamin) bears no taint of compromised, out-of-work radicalism. Instead, his radicalism is very much at work, enabling him to spot and skewer fallacies, false logic and the camouflaged nudity that is a large part of the art emperor's new wardrobe. The De-definition of Art] detects with great sensitivity the forces that are deflecting and pressuring art in the direction of esthetic and moral nullity." Jack Kroll, Newsweek "
"Like the great German critic Walter Benjamin, Rosenberg is a master of dialectics whose sense of art is continuous with his sense of society, and (al...
"As a stylist, in his descriptions of art and movements and books, Rosenberg has no equal. . . . One is grateful for this] essay collection. To my mind, his piece on art criticism and the distinction between it and art history is alone worth the price of the book." Corinne Robins, "New York Times Book Review " "
"As a stylist, in his descriptions of art and movements and books, Rosenberg has no equal. . . . One is grateful for this] essay collection. To my mi...
Harold Rosenberg was undoubtedly the most important American art critic of the twentieth century. It was he who first coined the term "Action Painters" to refer to the American Abstract Expressionists such as Pollock, Kline, and de Kooning. Rosenberg's seminal writings on this movement, as well as on other artists such as Newman and Rothko, appear in The Tradition of the New (1959), his first and most influential book; its effects on subsequent art criticism, and the practice of art itself, are still felt today. The essays in this book are not limited to the art world, however: He also...
Harold Rosenberg was undoubtedly the most important American art critic of the twentieth century. It was he who first coined the term "Action Painters...
