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By Christos M. Joachimides, David Anfam, Norman Rosenthal

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2); and setded in New York permanendy avant-garde in 1942 It . is reasonable to say that New York, between the wars, was not an especially active centre of art, possibly because appreciated quiet it is Duchamp was was can be inferred Greenberg's writings of the period, and that bition at Fig. 3 The Andy Warhol, Various Warhol Fstate of Andy Boxes, 1964. elsewhere. WTiat remains to be Duchamp, once he had settied in the cit\'. How from the fact that his name appears only once in the quiet influence of Peggy Guggenheim's gallery.

The greatest works of the 1930s are those that evoke the economic and social the polic}' of the Popular Front decade while respecting the differences disasters of the among those written about, painted or photographed. In the narrative and photographs that constitute a book like James Agee and W^alker Evans's Let Us Now Praise Famous Men (1941) there is also a painful acknow ledgment of the differences between the observing artists and the observed share-crop farmers (see Figs. This distance 4, 5).

An Intellectual Vocation We can begin to appreciate the tension between post-war intellectuals and American society, and the ways we drop back to in which they pulled important strands of thought together, the years just before the First World W^ar and if Randolph critic that had to the critic Bourne. Bourne carried into the twentieth century the role of cultural been forged by Henry David Thoreau in the 1830s and 1840s. WTiereas Thoreau's protest against slavery, made in the essay 'Ci\al Disobedience' (1849), pathy towards materialism led him to spend two years in a and his anti- hut by W^alden Pond, World War and, as a self- aware becoming recognizably modem.

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American Art in the 20th Century - Painting and Sculpture, 1913-1993 by Christos M. Joachimides, David Anfam, Norman Rosenthal

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