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Author: Edgar Wind
Publisher: Oxford University Press, USA
ISBN:
Category : Art
Languages : en
Pages : 228
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Book Description
One of the most original art historians of the twentieth century, Edgar Wind (1900-1971) was the first Professor of the History of Art, University of Oxford. His astonishing familiarity with art and its history was allied with a knowledge of the ancient classics, of literature in several languages, and of philosophy and aesthetics. This first volume of his selected papers, published in 1983, is now reprinted in paperback for the first time with a revised and updated bibliography.
Author: Edgar Wind
Publisher: Oxford University Press, USA
ISBN:
Category : Art
Languages : en
Pages : 228
Get Book Here
Book Description
One of the most original art historians of the twentieth century, Edgar Wind (1900-1971) was the first Professor of the History of Art, University of Oxford. His astonishing familiarity with art and its history was allied with a knowledge of the ancient classics, of literature in several languages, and of philosophy and aesthetics. This first volume of his selected papers, published in 1983, is now reprinted in paperback for the first time with a revised and updated bibliography.
Author: Hilton Kramer
Publisher: Simon and Schuster
ISBN: 0029176417
Category : Arts
Languages : en
Pages : 456
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Book Description
Gathers essays about modernism, Marxist criticism art patronage, Wallace Stevens, Picasso, Aaron Copland, Michel Foucault, Barbara Pym, Richard Serra, and Cindy Sherman.
Author: Adrian W. B. Randolph
Publisher: Yale University Press
ISBN: 9780300092127
Category : Art
Languages : en
Pages : 404
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Book Description
Randolph shows how "engaging" political symbols were grounded in a revolutionary way in amorous discourses that drew on metaphors of affection, desire, courtship, betrothal, marriage, homo- and hetero-eroticism, and procreation."--BOOK JACKET.
Author: Seminario Mnemosyne
Publisher: Edizioni Engramma
ISBN: 889484031X
Category : Art
Languages : en
Pages : 227
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Book Description
Editorial paper, Monica Centanni, Anna Fressola, Elizabeth Thomson Ernst H. Gombrich, Geburtstagsatlas: An Index of materials published in Engramma, by Seminario Mnemosyne Ernst H. Gombrich, Geburtstagsatlas für Max M. Warburg (1937). First digital edition, by Seminario Mnemosyne Ernst H. Gombrich, To Mnemosyne: An Introduction to Geburtstagsatlas (1937), by Seminario Mnemosyne Zwischenraum/Denkraum. Terminological Oscillations in the Introductions to the Atlas by Aby Warburg (1929) and Ernst Gombrich (1937), Victoria Cirlot “L’esprit de Warburg lui-même sera en paix”. A survey of Edgar Wind’s quarrel. With the Warburg Institute. Appendix: The Warburgkreis correspondence, Ianick Takaes de Oliveira A Review of Ernst H. Gombrich, Aby Warburg: An Intellectual Biography (London 1970). First digital edition, Edgar Wind A Laboratory of the Science of Culture. Review of A. Warburg, Gesammelte Schriften (1933). First digital edition, Johan Huizinga. Edition and translation by Monica Centanni, Sergio Polano and Elizabeth Thomson Autobiography of a Warburgian Artist. Review of: Ronald B. Kitaj Confessions of an Old Jewish Painter (2017), Matias J. Nativo, Alessia Prati
Author: Robert Mushet
Publisher:
ISBN:
Category : Ethics, Ancient
Languages : en
Pages : 524
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Book Description
Author: Ben Thomas
Publisher: Bloomsbury Publishing USA
ISBN: 1501341731
Category : Art
Languages : en
Pages : 279
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Book Description
This book presents the first comprehensive study of the philosopher and art historian Edgar Wind's critique of modern art. The first student of Erwin Panofsky, and a close associate of Aby Warburg, Edgar Wind was unusual among the 'Warburgians' for his sustained interest in modern art, together with his support for contemporary artists. This culminated in his respected and influential book Art and Anarchy (1963), which seemed like a departure from his usual scholarly work on the iconography of Renaissance art. Based on extensive archival research and bringing to light previously unpublished lectures, Edgar Wind and Modern Art reveals the extent and seriousness of Wind's thinking about modern art, and how it was bound up with theories about art and knowledge that he had developed during the 1920s and 30s. Wind's ideas are placed in the context of a closely connected international cultural milieu consisting of some of the leading artists and thinkers of the twentieth century. In particular, the book discusses in detail his friendships with three significant artists: Pavel Tchelitchew, Ben Shahn and R. B. Kitaj. In the process, the existence of an alternative to the prevailing formalist approach of Alfred Barr and Clement Greenberg to modern art, based on the enduring importance of the symbol, is revealed.
Author: Edgar Wind
Publisher: Routledge
ISBN: 1351198572
Category : Art
Languages : en
Pages : 210
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Book Description
"Edgar Wind was one of the most distinguished art historians and philosophers of the twentieth century. He made crucial contributions to debates on aesthetics and on the interdisciplinary nature of cultural history involving such other leading figures as Ernst Cassirer and Erwin Panofsky. It is not always realised, however, that his early thinking was moulded by a concern with the German philosophical tradition, culminating in the analysis of the meaning and function of scientific experimentation and proof. This first edition in English of Edgar Wind's important work Das Experiment und die Metaphysik: Zur Auflosung der kosmologischen Antinomien (1934) also carries a new introduction by Matthew Rampley, placing Wind's philosophical thinking in context. The work is being published to coincide with the opening in 2000 of the Sackler Library at Oxford, which will include a Wind Reading Room."
Author: Maximillian E. Novak
Publisher: University of Toronto Press
ISBN: 1442692995
Category : Literary Criticism
Languages : en
Pages : 417
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Book Description
"The Projecting Age" was a term the English novelist Daniel Defoe used to describe the end of the seventeenth century. This term could just as easily be used, however, to describe the period known as the "Long Eighteenth Century" (1660-1789). The Age of Projects uses the notion of a project as a key to understanding the massive social, cultural, political, literary, and scientific transitions that occurred in Europe during this time. The contributors to this collection examine fraudulent, grandiose, altruistic, and idealistic projects that reveal the period's radical breaks from the past and its preoccupation with the future. Examining topics as diverse as Jonathan Swift's satire on the possibility of a computer, to Gottfried Leibniz's effort to build one, and Edmund Burke's prediction that the project of democratic governance would be taken over by greedy adventurers, this volume provides significant insight into the period's ambitions for an improved future. A well-balanced collection by leading scholars from diverse disciplines, The Age of Projects is a significant contribution to intellectual history, literary history, and the history of science.
Author: Christopher D. Johnson
Publisher: Cornell University Press
ISBN: 0801464536
Category : Art
Languages : en
Pages : 305
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Book Description
The work of German cultural theorist and art historian Aby Warburg (1866–1929) has had a lasting effect on how we think about images. This book is the first in English to focus on his last project, the encyclopedic Atlas of Images: Mnemosyne. Begun in earnest in 1927, and left unfinished at the time of Warburg’s death in 1929, the Atlas consisted of sixty-three large wooden panels covered with black cloth. On these panels Warburg carefully, intuitively arranged some thousand black-and-white photographs of classical and Renaissance art objects, as well as of astrological and astronomical images ranging from ancient Babylon to Weimar Germany. Here and there, he also included maps, manuscript pages, and contemporary images taken from newspapers. Trying through these constellations of images to make visible the many polarities that fueled antiquity’s afterlife, Warburg envisioned the Atlas as a vital form of metaphoric thought. While the nondiscursive, frequently digressive character of the Atlas complicates any linear narrative of its themes and contents, Christopher D. Johnson traces several thematic sequences in the panels. By drawing on Warburg’s published and unpublished writings and by attending to Warburg’s cardinal idea that "pathos formulas" structure the West’s cultural memory, Johnson maps numerous tensions between word and image in the Atlas. In addition to examining the work itself, he considers the literary, philosophical, and intellectual-historical implications of the Atlas. As Johnson demonstrates, the Atlas is not simply the culmination of Warburg’s lifelong study of Renaissance culture but the ultimate expression of his now literal, now metaphoric search for syncretic solutions to the urgent problems posed by the history of art and culture.
Author: Sjoerd van Tuinen
Publisher: Leuven University Press
ISBN: 9462701156
Category : Art
Languages : en
Pages : 281
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Book Description
At the crossroads of philosophy, artistic practice, and art history Though Gilles Deleuze and Felix Guattari were not strictly art historians, they reinvigorated ontological and formal approaches to art, and simultaneously borrowed art historical concepts for their own philosophical work. They were dedicated modernists, inspired by the German school of expressionist art historians such as Riegl, Wölfflin, and Worringer and the great modernist art critics such as Rosenberg, Steinberg, Greenberg, and Fried. The work of Deleuze and Guattari on mannerism and Baroque art has led to new approaches to these artistic periods, and their radical transdisciplinarity has influenced contemporary art like no other philosophy before it. Their work therefore raises important methodological questions on the differences and relations among philosophy, artistic practice, and art history. In Art History after Deleuze and Guattari international scholars from all three fields explore what a ‘Deleuzo-Guattarian art history’ could be today. ContributorsÉric Alliez (Kingston University, Université Paris VIII), Claudia Blümle (Humboldt Universität zu Berlin), Jean-Claude Bonne (École des Hautes Études en Sciences Sociales), Ann-Cathrin Drews (Humboldt Universität zu Berlin), James Elkins (School of the Art Institute of Chicago), Sascha Freyberg (Max Planck Institute for the History of Science), Antoine l’Heureux (independent researcher), Vlad Ionescu (Hasselt University), Juan Fernando Mejía Mosquera (Pontificia Universidad Javeriana), Gustavo Chirolla Ospina (Pontificia Universidad Javeriana), Bertrand Prévost (Université Bordeaux Montaigne), Elisabeth von Samsonow (Akademie für bildende Künste Wien), Sjoerd van Tuinen (Erasmus University Rotterdam), Kamini Vellodi (Edinburgh College of Art), Stephen Zepke (independent researcher)
