Stephen Bann examines the arguments for the centrality of French
modernist painting. He begins by focusing particularly on the
notion of the modernist break, as it has been interpreted with
regard to painters like Manet and Ingres. He argues that a
~curiositya (TM), with its origins in the seventeenth-century
world-view can be a valid concept for understanding some aspects of
contemporary art that contest the modern, suggesting ways of
sidetracking the modern by adopting a lengthier historical
view.
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