Art in Theory: The West in the World is a ground-breaking anthology that comprehensively examines the relationship of Western art to the art and material culture of the wider world. Editors Paul Wood and Leon Wainwright have included over 350 texts, some of which appear in English for the first time. The anthologized texts are presented in eight chronological parts, which are then subdivided into key themes appropriate to each historical era. The majority of the texts are representations of changing ideas about the cultures of the world by European artists and intellectuals, but increasingly, as the modern period develops, and especially as colonialism is challenged, a variety of dissenting voices begin to claim their space, and a counter narrative to western hegemony develops. Over half the book is devoted to 20th and 21st century materials, though the book’s unique selling point is the way it relates the modern globalization of art to much longer cultural histories. As well as the anthologized material, Art in Theory: The West in the World contains: A general introduction discussing the scope of the collection Introductory essays to each of the eight parts, outlining the main themes in their historical contexts Individual introductions to each text, explaining how they relate to the wider theoretical and political currents of their time Intended for a wide audience, the book is essential reading for students on courses in art and art history. It will also be useful to specialists in the field of art history and readers with a general interest in the culture and politics of the modern world.
Intended for a wide audience, this book is essential reading for students on courses in art and art history.
Author: Paul Wood
Publisher: John Wiley & Sons
Art in Theory (1648-1815) provides a wide-ranging and comprehensive collection of documents on the theory of art from the founding of the French Academy until the end of the Napoleonic Wars. Like its highly successful companion volumes, Art in Theory (1815-1900) and Art in Theory (1900-1990), its' primary aim is to provide students and teachers with the documentary material for informed and up-to-date study. Its' 240 texts, clear principles of organization and considerable editorial content offer a vivid and indispensable introduction to the art of the early modern period. Harrison, Wood and Gaiger have collected writing by artists, critics, philosophers, literary figures and administrators of the arts, some reprinted in their entirety, others excerpted from longer works. A wealth of material from French, German, Italian, Spanish, Dutch and Latin sources is also provided, including many new translations. Among the major themes treated are early arguments over the relative merits of ancient and modern art, debates between the advocates of form and color, the beginnings of modern art criticism in reviews of the Salon, art and politics during the French Revolution, the rise of landscape painting, and the artistic theories of Romanticism and Neo-classicism. Each section is prefaced by an essay that situates the ideas of the period in their historical context, while relating theoretical concerns and debates to developments in the practice of art. Each individual text is also accompanied by a short introduction. An extensive bibliography and full index are provided. For more details of our book and journal list in Art, visit http://www.blackwellpublishing.com/arttheory
Eachindividual text is also accompanied by a short introduction. Anextensive bibliography and full index are provided. For more details of our book and journal list in Art, visithttp://www.blackwellpublishing.com/arttheory
Author: Charles Harrison
These 300 texts provide a vivid introduction to the history of art between 1900 and 2000. Major themes considered include: concepts of genius and originality, modes of landscape painting, the question of Modernity, and the aesthetics of photography.
These 300 texts provide a vivid introduction to the history of art between 1900 and 2000.
Author: Charles Harrison
Publisher: Blackwell Publishing
People all over the world make art and take pleasure in it, and they have done so for millennia. But acknowledging that art is a universal part of human experience leads us to some big questions: Why does it exist? Why do we enjoy it? And how do the world’s different art traditions relate to art and to each other? Art Without Borders is an extraordinary exploration of those questions, a profound and personal meditation on the human hunger for art and a dazzling synthesis of the whole range of inquiry into its significance. Esteemed thinker Ben-Ami Scharfstein’s encyclopedic erudition is here brought to bear on the full breadth of the world of art. He draws on neuroscience and psychology to understand the way we both perceive and conceive of art, including its resistance to verbal exposition. Through examples of work by Indian, Chinese, European, African, and Australianartists, Art Without Borders probes the distinction between accepting a tradition and defying it through innovation, which leads to a consideration of the notion of artistic genius. Continuing in this comparative vein, Scharfstein examines the mutual influence of European and non-European artists. Then, through a comprehensive evaluation of the world’s major art cultures, he shows how all of these individual traditions are gradually, but haltingly, conjoining into a single current of universal art. Finally, he concludes by looking at the ways empathy and intuition can allow members of one culture to appreciate the art of another. Lucid, learned, and incomparably rich in thought and detail, Art Without Borders is a monumental accomplishment, on par with the artistic achievements Scharfstein writes about so lovingly in its pages.
271. F. Haskell and N. Penny, Taste and the Antique, New Haven, 1980. 272. For
an extensive anthology of sources, see Harrison, Wood, and Gaiger, Art in
Theory, 1648–1815: An Anthology of Changing Ideas, Oxford, 2000, esp. pp. 67–
Author: Ben-Ami Scharfstein
Publisher: University of Chicago Press
The Companion provides an accessible critical survey of Western visual art theory from sources in Classical, Medieval and Renaissance thought through to contemporary writings.
He has published widely in the field of Continental Philosophy, aesthetics and
hermeneutic theory. Paul Duro is Professor of Art ... He is co-editor of Art in
Theory: 1648–1815 (2000) and Art in Theory: 1815–1900 (1998). He is
Author: Paul Smith
Publisher: John Wiley & Sons
... its relationship to artistic practice as well as the notions of “ cycle ” , “ process ”
and “ norm ” . Very important sources for the creation of the European context of
local art theory were the anthologies of art theory Art in Theory 1648 - 1815 : An ...
Author: Stella Pelše
Category: Art criticism
Author: Milton Charles Nahm
Publisher: Prentice Hall
To speak about the relationship between reality and art is like wanting to solve an equation with two unknowns. Nonetheless they are so closely bound up with each other that one is almost bound to mention the two quantities in the same breath. Is there much of a difference then between art and reality? For what is reality but what we make of it? With our cities and buildings, our tamed landscape and manifold utensils, with all the available remedies and media we shape reality at will, in our own image. This, however, is not true only of our concrete products. We form our reality also through the thoughts and ideas we have about ourselves and the world, and through the concepts by which we try to cope with it. Consequently all art must have its origin in a belief in the existence of reality whatever constitutes the kind of reality that the individual professes to see as his own. It is not, therefore, the intention in this volume to explore the universal laws of art and track down the imprint they have left on reality in the work of art. On the contrary, art will be seen as the means of expression which, due to its diversity and changeability, will always be the proper medium to capture the glimpse of the reality current at any given moment and preserve the picture of it in a more lasting, though not in a universally valid form.
See also the following anthologies and collections of source literature : A
Documentary History of Art I - III , ed . E. Holt , Princeton , N.J. 1982 ( 1958 ) . Art
in Theory 1648-1815 ; 1815-1900 ; 1900-1990 . An Anthology of Changing Ideas
, ed .
Author: Lise Bek
Publisher: Aarhus Universitetsforlag
Leading authorities explore the transition from the High Victorian period to the counterculture of the 1960s and the Young British Artists of the 1990s. The book brings to the fore Britain's complex role as a focus for the dissemination of modernist ideas, as well as the reaction against them, and details the political, social, and commercial relationships underpinning the role of art and artists in the history of modern Britain.
Art in Theory 1648 - 1815 , Oxford 2000 . HOGGART 1957 R . Hoggart , The Uses
of Literacy : Aspects of Working - Class Life , with Special Reference to
Publications and Entertainments , London 1957 . HUBBARD 1951 H . Hubbard ,
A 100 ...
Author: David Bindman
Publisher: Yc British Art
Art in Theory 1648-1815 , Malden , Oxford and Victoria : Blackwell Publishing
HAYCOCK , David Boyd ( 2002 ) . William Stukeley – Science , Religion and
Archaeology in 18th Century England , Woodbridge : The Boydel Press .
picturesque in ...
Category: Excavations (Archaeology)
Tracing the connections--both visual and philosophical--between new media art and classical Islamic art. In both classical Islamic art and contemporary new media art, one point can unfold to reveal an entire universe. A fourteenth-century dome decorated with geometric complexity and a new media work that shapes a dome from programmed beams of light: both can inspire feelings of immersion and transcendence. In Enfoldment and Infinity, Laura Marks traces the strong similarities, visual and philosophical, between these two kinds of art. Her argument is more than metaphorical; she shows that the "Islamic" quality of modern and new media art is a latent, deeply enfolded, historical inheritance from Islamic art and thought. Marks proposes an aesthetics of unfolding and enfolding in which image, information, and the infinite interact: image is an interface to information, and information (such as computer code or the words of the Qur'an) is an interface to the infinite. After demonstrating historically how Islamic aesthetics traveled into Western art, Marks draws explicit parallels between works of classical Islamic art and new media art, describing texts that burst into image, lines that multiply to form fractal spaces, "nonorganic life" in carpets and algorithms, and other shared concepts and images. Islamic philosophy, she suggests, can offer fruitful ways of understanding contemporary art.
An Islamic Genealogy of New Media Art Laura U. Marks. Simiolus ... Alpers , The
Art of Describing , chap . ... Novalis , aka Friedrich von Hardenberg , “ Fugitive
Thoughts , ” in Art in Theory , 1648-1815 : An Anthology of Changing Ideas , ed .
Author: Laura U. Marks
Publisher: Mit Press
COOPER 1982 H. Cooper , John Trumbull , exh . cat . , Yale University Art Gallery
, New Haven 1982 . CORBETT , HOLT AND RUSSELL 2002 D.P. ... Art in Theory
1648-1815 , Oxford 1999 . GAINSBOROUGH 2000 T. Gainsborough , The ...
"Accompanies an exhibition at the Barber Institute of Fine Arts, University of Birmingham, 20 January-23 April 2006"--T.p. verso.
Paul Spencer-Longhurst, Johan Christian Dahl, Barber Institute of Fine Arts ... in
London 1795 to an unknown addressee , translated by J . Gaiger in C . Harrison ,
P . Wood and J . Gaiger , eds . , Art in Theory 1648 – 1815 , Oxford , 2000 , pp .
Author: Paul Spencer-Longhurst
Publisher: Philip Wilson Publishers
From images of Eve to Cindy Sherman's self-portraits, from Cleopatra to Madonna, from ancient goddesses to modern celebrities, this work offers an overview of the most revered icons of female beauty in world art from pre-history to the present. What gives beauty such fascinating power? Why is beauty so easy to recognize but so hard to define? Across cultures and continents and over the centuries the standards of beauty have changed but the desire to portray beauty, to praise beauty, and to possess beauty has never diminished. This set offers insight as to how we can use perceptions of beauty to learn about world cultures, both past and present. Each chapter looks at an individual work of art to pose a question about the power of beauty. What makes beauty modern? What is the influence of celebrities? How do women portray their own beauty in a different manner than men? In-depth profiles of the icons reveal how specific ideas about beauty were developed and expressed, offering a full analysis of their history, cultural significance, and lasting influence. In addition to renowned works of art, it also looks at icons in literature, film, politics, and contemporary entertainment. Interdisciplinary and multicultural in its approach, chapters inside this set also feature sidebars on provocative topics and issues, such as foot binding and body adornment; myths and practices; opinions and interpretations; and even related films, songs, and even comic book characters.
Art, Culture, and the Image of Women Debra N. Mancoff. still beautiful at the age
of thirty - eight . In a film ... Art in Theory 1648–1815 : An Anthology of Changing
Ideas ( Oxford : Blackwell Publishers , 2000 ) : 521-522 . 5. Ibid . , 516-521 . 6.
Author: Debra N. Mancoff
Category: Social Science
WOOD SCULPTURE - ITALY - MACERATA Art in theory 1648-1815 . Malden ,
MA : Blackwell ( PROVINCE ) - EXHIBITIONS . Publishers , 2001 . La cultura
lignea nelle alte valli del Potenza e N6420 A78 2001 dell'Esino . 1. ed . Milano : F
Author: New York Public Library. Art and Architecture Division
... Guppy cerning Universal Grammar , 3.454 Harrison , C. , P. Wood and J.
Gaiger ( eds ) , gypsics , in Poli region , 5.164-6 Art in Theory 1648-1815 , 1.452
Hadrian , Emperor , 1.465 ; 2.436,437 , 448 ; Harrison , John , 4.301 , 412 4.115 ,
Author: Stephen Bending
... Philosophy Neurosciences OCTOBER - 6 X 9 - 240 PAGES 0-7456-1444-2 -
HARDCOVER - $ 64.95 Rom HARRÉ Art in Theory 1648-1815 A Reader Edited
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Category: Academic libraries
Includes, beginning Sept. 15, 1954 (and on the 15th of each month, Sept.-May) a special section: School library journal, ISSN 0000-0035, (called Junior libraries, 1954-May 1961). Also issued separately.
95 Rom HARRÉ Art in Theory 1648 - 1815 A Reader Edited by CHARLES
HARRISON , PAUL WOOD , " A millenium of deep thought Edited by WILLIAM
BECHTEL , A Social History of compressed in an utterly and JASON GAIGER
This is the final volume in a series of four books about art and its interpretation from the mid-nineteenth century to the end of the twentieth. The books seek to explain the most important issues confronting any study of modern art, without attempting exhaustive coverage. They present a range of approaches characteristic of current art-historical debates. This fourth volume focuses on art since the 1930s, the main emphasis being on the period since the Second World War. The first chapter, 'Modernism and culture in the USA, 1930-1960', examines the ideological interests that governed the predominant Modernist account of the period. It establishes a different perspective by considering the connection between 'historical' and 'theoretical' debates in terms of the relationships between art, culture and society in the USA. Although the two focal points are the 1930s and the years after the Second World War, questions of cultural value and power in capitalist societies are also discussed in the context of parallels to be found in conditions during the 1990s. Chapter 2, 'The politics of representation', examines debates about the practices of art, art criticism and curatorial validation since the 1940s. These practices - considered as representations of ideas, values and beliefs - were produced in a period dominated by the Cold War consensus. A major issue is whether this consensus was ruptured during the late 1960s by a counter-culture characterized by, for example, feminism and the anti-Vietnam War movement. While questions about the function of art and culture are mostly located in the specific social and political conditions existing between the 1940s and the early 1970s, issues about thelegacy of this period are also considered. The final chapter, 'Modernity and Modernism reconsidered', examines the high Modernism of the 1960s and goes on to review movements such as Minimal Art, Land Art and Conceptual Art which continued or contested that tradition. It also considers various artistic forms of the 1980s and discusses the apparent revival of interest in painting. The chapter closes with an inquiry into the implications of the postmodernism debate for the practice of art today.
Although the two focal points are the 1930s and the years after the Second World War, questions of cultural value and power in capitalist societies are also discussed in the context of parallels to be found in conditions during the 1990s.
Author: Paul Wood
There are , however , anxiety about whether the artist gains honor through artistic
elements of the paintings that are of his invention . As menskill or through ...
Visible World , trans . Hester Ysseling , in Art and Theory 1648 - 1815 : An