Theories of Art: 3. From Impressionism to KandinskyRoutledge, 2013 M10 18 - 400 páginas In this volume, the third in his classic series on 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 emerging interrelationship between scientific inquiry and artistic theory. 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 sensory experiences, psychological reflection on the effects of art, and an attraction 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 |
II Empathy | 79 |
III Discovering the Primitive | 189 |
IV Abstract Art | 291 |
Bibliographical Essay | 371 |
| 383 | |
| 386 | |
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Términos y frases comunes
abstract art abstract painting aesthetic affinity Alois Riegl anthroposophy art theory artists attitude believed Bergson briefly cave paintings color composition concept concerned Conrad Fiedler context critics culture decades defined difficult discussion doctrine Egyptian art emotional empathy expression Fechner Fiedler fields figure final find finish first founders of abstract Gaston Maspero Gauguin Goncourts haptic harmony Hildebrand human ideas ideoplastic impact impressionism impressionists influence intellectual Kandinsky Kandinsky’s Kunstwollen looking mainly means mind modern Mondrian movement nature nineteenth century objects one’s original painters perceived perception philosophical prehistoric art primitive art primitivism problems psychology question reality reflection reflection on art Renaissance representation Riegl Robert Vischer scientific sculpture Semper sense shapes significance specific spectator Spiritual in Art stage student style subject matter term theoretical theory of art theosophy thought tion tradition trend ture twentieth century Verworn Vischer visual arts Worringer wrote