This second book in Moshe Barasch's series on art theory surveys the development of the field from the early eighteenth to the mid-nineteenth centuries. During this period theories of the visual arts, particularly of painting and sculpture, underwent a radical transformation, as a result of which the intellectual foundations of our modern views on the arts were formed. Because this transformation can only be understood within the context of cultural, aesthetic, and philosophical developments of the period, Barasch surveys the opinions of the artists, as well as the doctrines of philosophers,…mehr
This second book in Moshe Barasch's series on art theory surveys the development of the field from the early eighteenth to the mid-nineteenth centuries. During this period theories of the visual arts, particularly of painting and sculpture, underwent a radical transformation, as a result of which the intellectual foundations of our modern views on the arts were formed. Because this transformation can only be understood within the context of cultural, aesthetic, and philosophical developments of the period, Barasch surveys the opinions of the artists, as well as the doctrines of philosophers, poets and critics. He thus traces for the reader the entire development of modernism in art and art theory.
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Autorenporträt
Moshe Barasch is Jack Cotton Professor of Architecture and Fine Arts at the Hebrew University of Jerusalem and author of numerous books on art, including The Language of Art: Studies in Interpretation (1997) and Icon: Studies in the History of an Idea (1995).
Inhaltsangabe
Introduction I. Antiquity 1. Introduction 2. The Philosophers 3. Teachings of the Workshops 4. The Problem of the Artist 5. Plotinus II. The Middle Ages 1. Iconoclasm 2. The Early Middle Ages: The West 3. Workshop Literature 4. Aesthetic Values in the Late Middle Ages 5. Scholasticism III. The Early Renaissance 1. The Imitation of Nature: A Concept Emerges 2. Alberti: The Birth of a New Theory of Art 3. Correct Imitation: Art and Science 4. Anatomy 5. Leonardo da Vinci 6. Durer 7. Formal Correctness: Perspective IV. The Artist and the Medium: Some Facets of the High Renaissance 1. Paragone 2. Rise of the Creative Artist 3. Michelangelo V. The Late Renaissance 1. New Authors and New Readers 2. Florence and Rome 3. Venice 4. Northern Italy 5. Rebelling Against the Rules: The Last Phase of Renaissance ARt Theory VI. Classicism and the Academy 1. Foundations 2. The Academy in Paris: Rule of Rules 3. The Crisis of the Academy Bibliographical Essay Index
Introduction I. Antiquity 1. Introduction 2. The Philosophers 3. Teachings of the Workshops 4. The Problem of the Artist 5. Plotinus II. The Middle Ages 1. Iconoclasm 2. The Early Middle Ages: The West 3. Workshop Literature 4. Aesthetic Values in the Late Middle Ages 5. Scholasticism III. The Early Renaissance 1. The Imitation of Nature: A Concept Emerges 2. Alberti: The Birth of a New Theory of Art 3. Correct Imitation: Art and Science 4. Anatomy 5. Leonardo da Vinci 6. Durer 7. Formal Correctness: Perspective IV. The Artist and the Medium: Some Facets of the High Renaissance 1. Paragone 2. Rise of the Creative Artist 3. Michelangelo V. The Late Renaissance 1. New Authors and New Readers 2. Florence and Rome 3. Venice 4. Northern Italy 5. Rebelling Against the Rules: The Last Phase of Renaissance ARt Theory VI. Classicism and the Academy 1. Foundations 2. The Academy in Paris: Rule of Rules 3. The Crisis of the Academy Bibliographical Essay Index
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