Modern Theories of Art 2: From Impressionism to Kandinsky

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NYU Press, 1998 M03 1 - 401 páginas

In this volume, the third in his classic series of texts surveying the history of art theory, Moshe Barasch traces the hidden patterns and interlocking themes in the study of art, from Impressionism to Abstract Art.
Barasch details the immense social changes in the creation, presentation, and reception of art which have set the history of art theory on a vertiginous new course: the decreased relevance of workshops and art schools; the replacement of the treatise by the critical review; and the interrelation of new modes of scientific inquiry with artistic theory and praxis. The consequent changes in the ways in which critics as well as artists conceptualized paintings and sculptures were radical, marked by an obsession with intense, immediate sensory experiences, psychological reflection on the effects of art, and a magnetic pull to the exotic and alien, making for the most exciting and fertile period in the history of art criticism.

 

Contenido

Introduction
1
I Impressionism
9
The Crisis of Realism
11
2 Aesthetic Culture in the Literature of the Time
13
3 Impressionism and the Philosophical Culture of the Time
24
4 Science and Painting
34
Reflections on Style
45
6 The Fragment as Art Form
69
III Discovering the Primitive
189
Conditions of Modern Primitivism
191
18 The Beginnings of Scholarly Study
199
19 Discovering Prehistoric Art
210
20 Understanding Distant Cultures
243
21 Gauguin
262
22 African Art
272
IV Abstract Art
291

II Empathy
79
An Empathy Tradition in the Theory of Art
81
8 Gustav Fechner
84
9 Charles Darwin
93
10 Robert Vischer
99
Toward a Definition
109
12 Wilhelm Dilthey
116
13 Conrad Fiedler
122
14 Adolf Hildebrand
133
15 Alois Riegl
143
16 Wilhelm Worringer
171
Origins and Sources
293
24 The Subject Matter of Abstract Painting
309
25 Color
320
26 Line
341
27 Composition and Harmony
352
Bibliographical Essay
371
Name Index
383
Subject Index
386
About the Author
390
Derechos de autor

Otras ediciones - Ver todas

Modern Theories of Art: From impressionism to Kandinsky. 2, Volumen2
Moshe Barasch
Sin vista previa disponible - 1998

Términos y frases comunes

abstract art abstract painting aesthetic Alois Riegl anthroposophy art theory artists attitude aware believed Bergson called cave paintings color composition concept concerned Conrad Fiedler context critics culture decades discussion doctrine Egyptian art emotional empathy European expression Fechner Fiedler figural art figure founders of abstract Gaston Maspero Gauguin Goncourts haptic harmony Hildebrand human ideas ideoplastic impact impressionism impressionists intellectual Kandinsky Kandinsky’s Kunstwollen looking mainly material means mind modern Mondrian movement nature nineteenth century objects one’s original painters Paul Valéry perceived perception philosophical prehistoric art primitive art primitivism problems psychology pure question reality reflection on art Renaissance representation Riegl Robert Vischer sculpture Semper sense shapes significance specific spectator Spiritual in Art stage student style subject matter term theoretical theory of art theosophy thought tion tradition translated trend ture twentieth century Verworn Vischer visual arts visual experience Worringer wrote

Acerca del autor (1998)

Moshe Barasch was Jack Cotton Professor of Architecture and Fine Arts at the Hebrew University of Jerusalem. He wrote numerous books including Icon, Theories of Art, and Modern Theories of Art I and II, all published by NYU Press. A winner of the Israel Prize in 1996, he was elected corresponding member of the Heidelberg Academy of Sciences.

Información bibliográfica

TítuloModern Theories of Art 2: From Impressionism to Kandinsky
AutorMoshe Barasch
EditorNYU Press, 1998
ISBN0814739482, 9780814739488
Largo401 páginas
  
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