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| | Menzel's Realism -- Art and Embodiment in Nineteenth-Century Berlin -- Michael Fried |
 | | Fried suggests that part of the problem is that Menzel’s work does not fit neatly into the canons of either realist painting, German art, or classical structure. |
 | | Joseph Leo Koerner writes, “This book is a gripping encounter between two great originals of their time: on the one side, Adolph Menzel, unsung pioneer of modernism, who receives at last his due; on the other side, Michael Fried, here at the height of his powers, the unsurpassed critic of modern art. |
 | | Born in 1815, Menzel was one of the most important German painters of his time, and his prodigious output included paintings, drawings, and engravings of domestic scenes, the sights and conditions of modern life, and the life of Frederick the Great. |
| www.frontlist.com /detail/0300092199 (428 words) |
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