Andre Salmon was one of the premier art critics of his day and the
author of two important eyewitness accounts of early twentieth
century art in France, La jeune peinture francaise and La jeune
sculpture francaise. These works capture the revolutionary spirit
of the period and include references and jokes of a small coterie
of artists and poets that included Picasso, Guillaume Apollinare,
Max Jacob, Georges Braque, and Salmon himself. This is the first
English-language translation of Salmon's first two books, which
serve as the primary sources on the Fauves, the Cubists, and their
avant-garde contemporaries. Gersh-Ne ic's translation includes
annotations that expand upon the period, most notably the literary
references that came so naturally to Salmon. His rapport with his
peers becomes transparent, providing insight into the studio banter
that gave rise to some of the art work of that era, particularly
Picasso's collages. The introduction calls attention to Salmon's
main criteria as a critic and offers an understanding of his
personal aesthetics through which we gain a better sense of his
ideas and prejudices.
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