In the interwar period art revealed itself as part of the social
and ideological order. The work of art became a point of
intersection for the modern, unstable and ambiguous world. Works of
art produced in these decades reflect a range of discourses on
power and subjectivity. They contribute to the foundation of the
post-war development of aesthetic pluralism and point out the
socially conditioned framings of the Fine Arts. During the last
decades, research in the field of interwar art has reworked and
reconceptualised existing notions on the period. This book offers
four new approaches which also contribute to reflections on
methodological questions regarding the changes in the disciple of
Art History since the early 1970s. The articles discuss topics such
as Le Corbusier's connection with the French fascist movement, the
position of women in the avant garde movement, Giorgio de Chirico's
play with kitsch and avant garde practices, and the semiotics of
the surrealist image.
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