Those Passions

'For those, though, who relish brilliant analysis of painting as well as former students of art history, like me, for whom, at university, Clark was a sort of god Those Passions will be essential reading. Its finest essays engage in depth with paintings subtle minutiae, observing and explaining how tiny touches can contribute to powerful overall effects. A bravura study of Henri Matisses Woman with a Hat (1905) is a case in point. ... Likewise, his scintillating exposition of The Lion Hunt (1855) by Eugne Delacroix a detail from which, reproduced on a French poster which he bought in 1966, dominates his study' Sunday Telegraph 'A timely study of the connection between art and politics' Observer The careful distillation of a lifetimes writing by the internationally renowned art historian T.J. Clark, who addresses key issues of arts relationship with politics. Is art obliged to engage with politics? If so, how? By taking sides in political struggle; by singing the song of the barricade, the new nation, the bombed city? Or by giving form to the deeper patterns of experience the raw materials of society from which any politics is made? Using case studies stretching across the centuries, from Hieronymus Bosch to Jacques-Louis David and the French Revolution, from Walter Benjamin to Pier Paolo Pasolini, Those Passions aims to show how modern art has responded to the chaos and danger of modern life. In the books three sections Precursors, Moderns and Modernities internationally renowned art historian T. J. Clark unpicks the nature of capitalist society and its visual culture. He tries to understand the politics of appearance which is now our natural home the twists and turns of consumerism, the arrival of the 24-hour image-world, the changing modes of symbolic production and the ongoing saturation of life by pictures and data and take stock of our guilty love affair with the imagery of violence, our attitude to the dream-world of advertising, the power and pathos of screen time. Written over the course of twenty-five years, these radical, provocative essays rethink issues central to art-making and political life today.