Author: Karsten Harries
Publisher: Northwestern University Press
ISBN: 0810105934
Category : Art
Languages : en
Pages : 183
Book Description
That modern art is different from earlier art is so obvious as to be hardly worth mentioning. Yet there is little agreement as to the meaning or the importance of this difference. Indeed, contemporary aestheticians, especially, seem to feel that modern art does not depart in any essential way from the art of the past. One reason for this view is that, with the exception of Marxism, the leading philosophical schools today are ahistorical in orientation. This is as true of phenomenology and existentialism as it is of contemporary analytic philosophy. As a result there have been few attempts by philosophers to understand the meaning of the history of art—an understanding fundamental to any grasp of the difference between modern art and its predecessors. Art expresses an ideal image of man, and an essential part of understanding the meaning of a work of art is understanding this image. When the ideal image changes, art, too, must change. It is thus possible to look at the emergence of modern art as a function of the disintegration of the Platonic-Christian conception of man. The artist no longer has an obvious, generally accepted route to follow. One sign of this is that there is no one style today comparable to Romanesque, Gothic, Renaissance, or Baroque. This lack of direction has given the artist a new freedom. Today there is a great variety of answers to the question, "What is art?" Such variety, however, betrays an uncertainty about the meaning of art. An uneasiness about the meaning of art has led modern artists to enter into dialogue with art historians, psychologists and philosophers. Perhaps this interpretation can contribute to that dialogue.
Meaning of Modern Art
Author: Karsten Harries
Publisher: Northwestern University Press
ISBN: 0810105934
Category : Art
Languages : en
Pages : 183
Book Description
That modern art is different from earlier art is so obvious as to be hardly worth mentioning. Yet there is little agreement as to the meaning or the importance of this difference. Indeed, contemporary aestheticians, especially, seem to feel that modern art does not depart in any essential way from the art of the past. One reason for this view is that, with the exception of Marxism, the leading philosophical schools today are ahistorical in orientation. This is as true of phenomenology and existentialism as it is of contemporary analytic philosophy. As a result there have been few attempts by philosophers to understand the meaning of the history of art—an understanding fundamental to any grasp of the difference between modern art and its predecessors. Art expresses an ideal image of man, and an essential part of understanding the meaning of a work of art is understanding this image. When the ideal image changes, art, too, must change. It is thus possible to look at the emergence of modern art as a function of the disintegration of the Platonic-Christian conception of man. The artist no longer has an obvious, generally accepted route to follow. One sign of this is that there is no one style today comparable to Romanesque, Gothic, Renaissance, or Baroque. This lack of direction has given the artist a new freedom. Today there is a great variety of answers to the question, "What is art?" Such variety, however, betrays an uncertainty about the meaning of art. An uneasiness about the meaning of art has led modern artists to enter into dialogue with art historians, psychologists and philosophers. Perhaps this interpretation can contribute to that dialogue.
Publisher: Northwestern University Press
ISBN: 0810105934
Category : Art
Languages : en
Pages : 183
Book Description
That modern art is different from earlier art is so obvious as to be hardly worth mentioning. Yet there is little agreement as to the meaning or the importance of this difference. Indeed, contemporary aestheticians, especially, seem to feel that modern art does not depart in any essential way from the art of the past. One reason for this view is that, with the exception of Marxism, the leading philosophical schools today are ahistorical in orientation. This is as true of phenomenology and existentialism as it is of contemporary analytic philosophy. As a result there have been few attempts by philosophers to understand the meaning of the history of art—an understanding fundamental to any grasp of the difference between modern art and its predecessors. Art expresses an ideal image of man, and an essential part of understanding the meaning of a work of art is understanding this image. When the ideal image changes, art, too, must change. It is thus possible to look at the emergence of modern art as a function of the disintegration of the Platonic-Christian conception of man. The artist no longer has an obvious, generally accepted route to follow. One sign of this is that there is no one style today comparable to Romanesque, Gothic, Renaissance, or Baroque. This lack of direction has given the artist a new freedom. Today there is a great variety of answers to the question, "What is art?" Such variety, however, betrays an uncertainty about the meaning of art. An uneasiness about the meaning of art has led modern artists to enter into dialogue with art historians, psychologists and philosophers. Perhaps this interpretation can contribute to that dialogue.
Diderot as a Disciple of English Thought
Author: Robert Loyalty Cru
Publisher:
ISBN:
Category : Comparative literature
Languages : en
Pages : 524
Book Description
Publisher:
ISBN:
Category : Comparative literature
Languages : en
Pages : 524
Book Description
"James Barry, 1741?806: History Painter "
Author: Tom Dunne
Publisher: Routledge
ISBN: 1351561812
Category : Art
Languages : en
Pages : 468
Book Description
Bringing into relief the singularity of Barry's unswerving commitment to his vision for history painting despite adverse cultural, political and commercial currents, these essays on Barry and his contemporaries offer new perspectives on the painter's life and career. Contributors, including some of the best known experts in the field of British eighteenth-century studies, set Barry's works and writings into a rich political and social context, particularly in Britain. Among other notable achievements, the essays shed new light on the influence which Barry's radical ideology and his Catholicism had on his art; they explore his relationship with Reynolds and Blake, and discuss his aesthetics in the context of Burke and Wollstonecraft as well as Fuseli and Payne Knight. The volume is an indispensable resource for scholars of eighteenth-century British painting, patronage, aesthetics, and political history.
Publisher: Routledge
ISBN: 1351561812
Category : Art
Languages : en
Pages : 468
Book Description
Bringing into relief the singularity of Barry's unswerving commitment to his vision for history painting despite adverse cultural, political and commercial currents, these essays on Barry and his contemporaries offer new perspectives on the painter's life and career. Contributors, including some of the best known experts in the field of British eighteenth-century studies, set Barry's works and writings into a rich political and social context, particularly in Britain. Among other notable achievements, the essays shed new light on the influence which Barry's radical ideology and his Catholicism had on his art; they explore his relationship with Reynolds and Blake, and discuss his aesthetics in the context of Burke and Wollstonecraft as well as Fuseli and Payne Knight. The volume is an indispensable resource for scholars of eighteenth-century British painting, patronage, aesthetics, and political history.
An Account of the Library of the Division of Art at Marlborough House
Author: Museum of Ornamental Art. Library
Publisher: London : George E. Eyre and William Spottiswoode
ISBN:
Category : Art libraries
Languages : en
Pages : 252
Book Description
Publisher: London : George E. Eyre and William Spottiswoode
ISBN:
Category : Art libraries
Languages : en
Pages : 252
Book Description
Conduct Literature for Women, Part IV, 1770-1830 vol 2
Author: Pam Morris
Publisher: Taylor & Francis
ISBN: 1040246001
Category : Literary Criticism
Languages : en
Pages : 247
Book Description
This collection aims to give a chronological insight into the evolution of conduct literature, from its early roots in the Renaissance period through to the dramatically different role that women played at the emergence of the 20th century. The material presented in this six-volume set moves away from courtly etiquette, adopting a more middle-class, domestic focus, and includes facsimile reproductions of sermons, poems, narratives and cookery books.Social and literary historians recognise the 1790s as a moment of political crisis and turbulence in British history: the intense reactions in Britain to increasing revolutionary violence in France politicised almost every aspect of cultural life. At the centre of discursive hostilities was the opposition between sentimentality, on the one hand, and rationality, on the other. Two of the most important literary forms utilised for expressing these polemics were novels and treatises on education, as well as conduct writing. Conduct Literature for Women IV, 1770-1830 makes available this body of writing, which has been less well studied in respect to the war of ideas than the former two.
Publisher: Taylor & Francis
ISBN: 1040246001
Category : Literary Criticism
Languages : en
Pages : 247
Book Description
This collection aims to give a chronological insight into the evolution of conduct literature, from its early roots in the Renaissance period through to the dramatically different role that women played at the emergence of the 20th century. The material presented in this six-volume set moves away from courtly etiquette, adopting a more middle-class, domestic focus, and includes facsimile reproductions of sermons, poems, narratives and cookery books.Social and literary historians recognise the 1790s as a moment of political crisis and turbulence in British history: the intense reactions in Britain to increasing revolutionary violence in France politicised almost every aspect of cultural life. At the centre of discursive hostilities was the opposition between sentimentality, on the one hand, and rationality, on the other. Two of the most important literary forms utilised for expressing these polemics were novels and treatises on education, as well as conduct writing. Conduct Literature for Women IV, 1770-1830 makes available this body of writing, which has been less well studied in respect to the war of ideas than the former two.
Catalogue of the Library, Overstone Park
Author:
Publisher:
ISBN:
Category : Economics
Languages : en
Pages : 380
Book Description
Publisher:
ISBN:
Category : Economics
Languages : en
Pages : 380
Book Description
A Catalogue of Books
Author: John Ramsay McCulloch
Publisher:
ISBN:
Category : Economics
Languages : en
Pages : 362
Book Description
Publisher:
ISBN:
Category : Economics
Languages : en
Pages : 362
Book Description
A Catalogue of Books, the property of the author of the Commercial Dictionary [i.e. J. R. MacCulloch]. [With a portrait.]
Author:
Publisher:
ISBN:
Category :
Languages : en
Pages : 192
Book Description
Publisher:
ISBN:
Category :
Languages : en
Pages : 192
Book Description
An Account of the Library of Art at Marlborough House, with a Catalogue of the Principal Works
Author: Wornum
Publisher:
ISBN:
Category :
Languages : en
Pages : 336
Book Description
Publisher:
ISBN:
Category :
Languages : en
Pages : 336
Book Description
The Emergence of Literary Criticism in 18th-Century Britain
Author: Sebastian Domsch
Publisher: Walter de Gruyter GmbH & Co KG
ISBN: 3110394758
Category : Literary Criticism
Languages : en
Pages : 572
Book Description
This study tries, through a systematic and historical analysis of the concept of critical authority, to write a history of literary criticism from the end of the 17th to the end of the 18th century that not only takes the discursive construction of its (self)representation into account, but also the social and economic conditions of its practice. It tries to consider the whole of the critical discourse on literature and criticism in the time period covered. Thus, it is distinctive through its methodology (there is no systematic account of the historical development of critical authority and no discussion of the institutionalization of criticism of such a scope), its material of analysis (most of the many hundred texts self-reflexively commenting on criticism that are discussed here have been so far virtually ignored) and through its results, a complex history of criticism in the 18th century that is neither reductive nor the accumulation of isolated aspects or author figures, but that probes into the very nature of the activity of criticism. The aim of this study is both to provide a thorough historical understanding of the emergence of criticism and as a consequence an understanding of the inner workings and power relations that structure criticism to this day.
Publisher: Walter de Gruyter GmbH & Co KG
ISBN: 3110394758
Category : Literary Criticism
Languages : en
Pages : 572
Book Description
This study tries, through a systematic and historical analysis of the concept of critical authority, to write a history of literary criticism from the end of the 17th to the end of the 18th century that not only takes the discursive construction of its (self)representation into account, but also the social and economic conditions of its practice. It tries to consider the whole of the critical discourse on literature and criticism in the time period covered. Thus, it is distinctive through its methodology (there is no systematic account of the historical development of critical authority and no discussion of the institutionalization of criticism of such a scope), its material of analysis (most of the many hundred texts self-reflexively commenting on criticism that are discussed here have been so far virtually ignored) and through its results, a complex history of criticism in the 18th century that is neither reductive nor the accumulation of isolated aspects or author figures, but that probes into the very nature of the activity of criticism. The aim of this study is both to provide a thorough historical understanding of the emergence of criticism and as a consequence an understanding of the inner workings and power relations that structure criticism to this day.