Art in theory : an anthology of changing ideas

Author(s)

Bibliographic Information

Art in theory : an anthology of changing ideas

edited by Charles Harrison and Paul Wood

Blackwell, 1992-

  • 1648-1815 : hbk
  • 1648-1815 : pbk
  • 1815-1900 : hbk
  • 1815-1900 : pbk
  • 1900-1990 : hbk
  • 1900-1990 : pbk
  • 1900-2000 : hbk
  • 1900-2000 : pbk

Available at  / 117 libraries

Search this Book/Journal

Note

"1648-1815" edited by Charles Harrison, Paul Wood and Jason Gaiger

"1815-1900" edited by Charles Harrison and Paul Wood with Jason Gaiger

"New edition"--Cover of "1900-2000"

Includes bibliographies ("1648-1815": p. [1180]-1193, "1815-1900": p. [1067]-1080, "1900-1990": p. [1129]-1154, "1900-2000": p. [1188]-1211) and indexes

Description and Table of Contents

Volume

1900-1990 : hbk ISBN 9780631165743

Description

This is the first scholarly anthology exclusively devoted to the art and art-critical theory of the twentieth century. It is designed to equip the student and teacher with the necessary materials for an up-to-date understanding of twentieth-century art at a time when current debates about the status of Modernism have led to an increasing interest in critical and aesthetic theories, and to a questioning of some of the traditional assumptions and limits of art history. Besides the writings of the century's major artists, Art in Theory includes relevant texts by critics, philosophers, politicians and literary figures. It is organized into eight sections, from the legacy of Symbolism at the turn of the century to contemporary debates about the Postmodern. Each section is prefaced by a brief essay. There are introductions for all of the 300-plus texts, which serve to place theories and critical approaches in context. The result is both a comprehensive collection of documents on twentieth century art and an encyclopaedic history of relevant theory.

Table of Contents

Introduction I THE LEGACY OF SYMBOLISM a Classicism and Originality b Expression and the Primitive II THE IDEA OF THE MODERN WORLD a Modernity b Cubism III RATIONALIZATION AND TRANSFORMATION a Neo-Classicism and the Call to Order b Dissent and Disorder c Abstraction and Form d Utility and Construction IV FREEDOM, RESPONSIBILITY AND POWER a The Modern as Ideal b Realism as Figuration c Realism as Critique d Modernism as Critique V THE INDIVIDUAL AND THE SOCIAL a The American Avant-Garde b Individualism in Europe c Art and Society VI MODERNISATION AND MODERNISM a Art and Modern Life b Modernist Art VII INSTITUTIONS AND OBJECTIONS a Objecthood and Reductivism b Attitudes to Form c Political Aspects d Critical Revisions VIII IDEAS OF THE POSTMODERN a The Condition of History b The Critique of Originality c Figures of Difference Bibliography Index.
Volume

1900-1990 : pbk ISBN 9780631165750

Description

Since it was first published in 1992, this book has become one of the leading anthologies of art theoretical texts in the English-speaking world. This expanded edition includes the fruits of recent research, involving a considerable amount of newly translated material from the entire period, together with additional texts from the last decades of the twentieth century.The features that made the first edition so successful have been retained:The volume provides comprehensive representation of the theories, which underpinned developments in the visual arts during the twentieth century.As well as writings by artists, the anthology includes texts by critics, philosophers, politicians and literary figures.The content is clearly structured into eight broadly chronological sections, starting with the legacy of symbolism and concluding with contemporary debates about the postmodern.The editors provide individual introductions to each of the 340 anthologised texts. Material new to this expanded edition includes texts on African art, on the Bauhaus and on the re-emergent avant-gardes of the period after the Second World War. Post-modernist debates are amplified by texts on gender, on installation and performance art, and on the increasing globalisation of culture.

Table of Contents

Introduction. Part I: The Legacy of Symbolism: 1. Classicism and Originality. 2. Expression and the Primitive. Part II: The Idea of the Modern World: 3. Modernity. 4. Cubism. Part III: Rationalization and Transformation: 5. Neo-Classicism and the Call to Order. 6. Dissent and Disorder. 7. Abstraction and Form. 8. Utility and Construction. Part IV: Freedom, Responsibility and Power: 9 The Modern as Ideal. 10. Realism as Figuration. 11. Realism as Critique. 12. Modernism as Critique. Part V: The Individual and the Social: 13. The American Avant-Garde. 14. Individualism in Europe. 15. Art and Society. Part VI: Modernisation and Modernism: 16. Art and Modern Life. 17. Modernist Art. Part VII: Institutions and Objections: 18. Objecthood and Reductivism. 19. Attitudes to Form. 20. Political Aspects. 21. Critical Revisions. Part VIII: Ideas of the Postmodern: 22. The Condition of History. 23. The Critique of Originality. 24. Figures of Difference. Bibliography. Index.
Volume

1648-1815 : hbk ISBN 9780631200635

Description

Art in Theory (1648-1815) provides a wide-ranging and comprehensive collection of documents on the theory of art from the founding of the French Academy until the end of the Napoleonic Wars. Like its highly successful companion volumes, Art in Theory (1815-1900) and Art in Theory (1900-1990), its' primary aim is to provide students and teachers with the documentary material for informed and up-to-date study. Its' 240 texts, clear principles of organization and considerable editorial content offer a vivid and indispensable introduction to the art of the early modern period. Harrison, Wood and Gaiger have collected writing by artists, critics, philosophers, literary figures and administrators of the arts, some reprinted in their entirety, others excerpted from longer works. A wealth of material from French, German, Italian, Spanish, Dutch and Latin sources is also provided, including many new translations. Among the major themes treated are early arguments over the relative merits of ancient and modern art, debates between the advocates of form and colour, the beginnings of modern art criticism in reviews of the Salon, art and politics during the French Revolution, the rise of landscape painting, and the artistic theories of Romanticism and Neo-classicism. Each section is prefaced by an essay that situates the ideas of the period in their historical context, while relating theoretical concerns and debates to developments in the practice of art. Each individual text is also accompanied by a short introduction. An extensive bibliography and full index are provided. For more details of our book and journal list in Art, visit http://www. blackwellpublishing. com/arttheory

Table of Contents

  • Acknowledgements. A Note on the Presentation and Editing of Texts. General Introduction. Part I: Establishing the Place of Art: Introduction. 1. Ancients and Moderns: 1. From The Painting of the Ancients 1637: Franciscus Junius. 2. Letter to Junius 1637: Peter Paul Rubens. 3. From The Art of Painting, its Antiquity and Greatness 1649: Francisco Pacheco. 4. Dedication to Constantijn Huygens from Icones I 1660: Jan de Bisschop. 5. From Painting Illustrated in Three Dialogues 1685: William Aglionby. 6. 'A Digression on the Ancients and the Moderns' 1688: Bernard le Bovier de Fontenelle. 7. Preface and 'Second Dialogue' from Parallel of the Ancients and Moderns 1688: Charles Perrault. 8. From Reflections upon Ancient and Modern Learning 1694: William Wotton. 2. The Academy: Systems and Principles: 9. Letters to Chantelou and to Chambray 1647/1665: Nicholas Poussin. 10. Observations on Painting c. 1660-5: Nicholas Poussin. 11. Recollections of Poussin 1662-1685: Various Authors. 12. Petition to the King and to the Lords of his Council 1648: Martin de Charmois. 13. Statutes and Regulations of the Academie Royale de Peinture et de Sculpture 1648. 14. From An Idea of the Perfection of Painting 1662: Roland Freart de Chambray. 15. Letter to Poussin c. 1665: Jean Baptiste Colbert. 16. 'The Idea of the Painter, Sculptor and Architect' 1664: Giovanni Pietro Bellori. 17. From Conversations on the Lives and Works of the Most Excellent Ancient and Modern Painters 1666: Andre Felibien. 18. Preface to Seven Conferences 1667: Andre Felibien. 19. 'First Conference' 1667: Charles LeBrun. 20. 'Second Conference' 1667: Philippe de Champaigne. 21. 'Sixth Conference' 1667: Charles LeBrun. 22. 'Conference on Expression' 1668: Charles LeBrun. 23. Table of Precepts: Expression 1680: Henri Testelin. 3. Form and Colour: 24. 'De Imitatione Statuorum', before 1640: Peter Paul Rubens. 25. From The Microcosm of Painting 1657: Francesco Scannelli. 26. From 'Diary of the Cavaliere Bernini's Visit to France' 1665: Paul Freart de Chantelou. 27. From De Arte Graphica 1667: Charles-Alphonse Du Fresnoy. 28. 'Remarks on De Arte Graphica' 1668: Roger de Piles. 29. From The Rich Mines of Venetian Painting 1676: Marco Boschini. 30. 'Conference on Titian's Virgin and Child with St John' 1671: Phillipe de Champaigne. 31. 'Conference on the Merits of Colour' 1671: Louis Gabriel Blanchard. 32. 'Thoughts on M. Blanchard's Discourse on the Merits of Colour' 1672: Charles LeBrun. 33. From Dialogue upon Colouring 1673: Roger de Piles. 34. From Practical Discourse on the Most Noble Art of Painting c. 1675: Jusepe Martinez. 35. From The Antiquity of the Art of Painting c. 1690: Felix da Costa. 4. The 'je ne sais quoi': 36. From The Hero 1637: Baltasar Gracian. 37. From The Art of Worldly Wisdom 1647: Baltasar Gracian. 38. 'Answer to Davenant's Preface to Gondibert' 1650: Thomas Hobbes. 39. From Fire in the Bush and The Law of Freedom in a Platform 1650/2: Gerrard Winstanley. 40. From Pensees c. 1654-1662: Blaise Pascal. 41. On Grace and Beauty from Conversations on the Lives and Works of the Most Excellent Ancient and Modern Painters 1666: Andre Felibien. 42. From The Conversations of Aristo and Eugene 1671: Dominique Bouhours. 43. From A Compleat Body of Divinity 1689/1701: Samuel Willard. 44. On Art and Beauty, Before 1716: Gottfried Wilhelm Leibniz. 5. Practical Resources: 45. From Miniatura
  • or The Art of Limning, Revised 1648: Edward Norgate. 46. On Rembrandt and Jan Lievens c. 1630: Constantijn Huygens. 47. Letters to Constantijn Huygens 1636-9: Rembrandt van Rijn. 48. From In Praise of Painting 1642: Philips Angel. 49. From The Art of Painting, its Antiquity and Greatness 1649: Francisco Pacheco. 50. Preface to Perspective Practical 1651: Jean Dubreuil. 51. From Introduction to the Academy of Painting
  • or, The Visible World 1678: Samuel van Hoogstraten. 52. 'The Excellency of Painting' from A Treatise of Perspective 1684: R. P. Bernard Lamy. 53. From Principles for Studying the Sovereign and Most Noble Art of Painting 1693: Jose Garcia Hidalgo. Part II: The Profession of Art: Introduction. 6. Painting as a Liberal Art: 54. From The Great Book on Painting 1707: Gerard de Lairesse. 55. From The Principles of Painting 1708: Roger de Piles. 56. On Feminine Studies, After 1700: Rosalba Carriera (1675-1757). 57. 'To the Reader' 1710: Mary Chudleigh. 58. From The Pictorial Museum and Optical Scale 1715-24: Antonio Palomino y Velasco. 59. From Essay on the Theory of Painting 1715: Jonathan Richardson. 60. From The Science of a Connoisseur 1719: Jonathan Richardson. 61. On the Grand Manner, from 'On the Aesthetic of the Painter' 1721: Antoine Coypel. 62. From 'On the Excellence of Painting' 1721: Antoine Coypel. 63. From Cyclopaedia 1728: Ephraim Chambers. 64. 'On Drawings' 1732: Comte de Caylus. 65. 'The Life of Antoine Watteau' 1748: Comte de Caylus. 7. Imagination and Understanding: 66. 'Of the Association of Ideas' from An Essay Concerning Human Understanding 1700: John Locke. 67. From 'The Moralists, A Philosophical Rhapsody' 1709: Anthony Ashley Cooper, Third Earl of Shaftesbury. 68. From 'A Notion of the Historical Draught of the Tablature of the Judgement of Hercules' 1712: Anthony Ashley Cooper, Third Earl of Shaftesbury. 69. 'On the Pleasures of the Imagination' 1712: Joseph Addison. 70. From Treatise on Beauty 1714: Jean-Pierre de Crousaz. 71. From Critical Reflections on Poetry and Painting 1719: Abbe Jean-Baptiste du Bos. 72. Preface to An Inquiry into the Original of our Ideas of Beauty and Virtue 1725: Francis Hutcheson. 73. 'Third Dialogue' from Alciphron, or the Minute Philosopher 1732: George Berkeley, Bishop of Cloyne. 74. 'Of the Sublime' 1725: Jonathan Richardson. 75. 'The Beau Ideal' 1732: Lambert Hermanson ten Kate. 76. From The Philosopher's Cabinet 1734: Pierre de Marivaux. 77. 'The Beauty of the World' c. 1750: Jonathan Edwards. Part III: Judgement and the Public Sphere: Introduction. 8. Classical and Contemporary: 78. From A Treatise on Ancient Painting 1740: George Turnbull. 79. From 'Discourse on the Arts and Sciences' 1750: Jean-Jacques Rousseau. 80. From 'Discourse on the Origins of Inequality' 1755: Jean-Jacques Rousseau. 81. From Observations upon the Antiquities of the Town of Herculaneum 1753: Jerome-Charles Bellicard and Charles Nicolas Cochin fils. 82. From Reflections on the Imitation of Greek Works in Painting and Sculpture 1755: Johann Joachim Winckelmann. 83. From An Inquiry into the Beauties of Painting 1761: Daniel Webb. 84. From The Antiquities of Athens 1762: James Stewart and Nicholas Revett. 85. From A History of Ancient Art 1764: Johann Joachim Winckelmann. 86. 'Of the Camera Obscura' from Essay on Painting 1764: Francesco Algarotti. 87. From Laocoon: on the Limitations of Painting and Poetry 1766: Gotthold Ephraim Lessing. 9. Aesthetics and the Sublime: 88. From Reflections on Poetry 1735: Alexander Gottlieb Baumgarten. 89. 'Prolegomena' to Aesthetica 1750: Alexander Gottlieb Baumgarten. 90. From The Analysis of Beauty 1753: William Hogarth. 91. 'Dialogue on Taste' 1755: Allan Ramsay. 92. 'Of the Standard of Taste' 1757: David Hume. 93. From A Philosophical Inquiry into the Origin of our Ideas of the Sublime and the Beautiful 1757: Edmund Burke. 94. 'An Essay on Taste' 1757: Charles-Louis de Secondat, Baron de Montesquieu. 95. 'Essay on Taste' 1757: Voltaire. 96. Letters to 'The Idler' 1759: Joshua Reynolds. 97. From Conjectures on Original Composition 1759: Edward Young. 98. From Giphantia 1760: Charles Francois Tiphaigne de la Roche. 99. From Aesthetica in Nuce 1762: Johann Georg Hamann. 100. From Reflections on Beauty and Taste in Painting 1762: Anton Raphael Mengs. 101. 'Beautiful, Beauty' from Philosophical Dictionary 1764: Voltaire (Francois-Marie Arouet). 102. 'Of Taste' from Essays on the Intellectual Powers of Man 1785: Thomas Reid. 10. The Practice of Criticism: 103. Reflections on Some Causes of the Present State of Painting in France 1747: Etienne La Font de Saint-Yenne. 104. From 'Letter on the Exhibition of Works of Painting, Sculpture, etc. ' 1747: Jean-Bernard, Abbe le Blanc. 105. From 'Letter on Painting, Sculpture and Architecture' 1748: Louis-Guillaume Baillet de Saint-Julien. 106. 'On Composition' 1750: Comte de Caylus. 107. From Essay on Architecture 1753: Marc-Antoine, Abbe Laugier. 108. 'Letter to M. de Bachaumont on Taste in the Arts and Letters' 1751: Jean-Baptiste de La Curne de Sainte-Palaye. 109. 'Art' from the Encyclopedie 1751: Denis Diderot. 110. 'Genius' from the Encyclopedie 1757: Jean-Francois, Marquis de Saint-Lambert. 111. 'Observation' from the Encyclopedie 1765: Anonymous. 112. From the Correspondence Litteraire 1756: Friedrich Melchior, Baron Grimm. 113. 'Reflexions on Sculpture' 1761: Etienne Falconet. 114. From the 'Salon of 1763', 1763: Denis Diderot. 115. From the 'Salon of 1765' and 'Notes on Painting' 1765: Denis Diderot. 116. From the 'Salon of 1767', 1768: Denis Diderot. Part IV: A Public Discourse: Introduction. 11. Consolidation and Instruction: 117. Letter to Richard Graves 1760: William Shenstone. 118. 'Of Academies' c. 1760-1: William Hogarth. 119. From 'Letter on Sculpture' 1765: Frans Hemsterhuis. 120. 'A Discourse upon the Academy of Fine Art at Madrid' 1766: Anton Raphael Mengs. 121. Correspondence 1766-7: Benjamin West and John Singleton Copley. 122. On the Death of General Wolfe c. 1771: Benjamin West. 123. From Discourses on Art, III, VI and XI 1770-82: Joshua Reynolds. 124. Discourse IX 1780: Joshua Reynolds. 125. On Exhibtions by Angelica Kauffman 1775-86: Various Reviewers. 126. From An Inquiry into the Real and Imaginary Obstructions to the Acq
Volume

1648-1815 : pbk ISBN 9780631200642

Description

Art in Theory (1648-1815) provides a wide-ranging and comprehensive collection of documents on the theory of art from the founding of the French Academy until the end of the Napoleonic Wars. Like its highly successful companion volumes, Art in Theory (1815-1900) and Art in Theory (1900-1990), its' primary aim is to provide students and teachers with the documentary material for informed and up-to-date study. Its' 240 texts, clear principles of organization and considerable editorial content offer a vivid and indispensable introduction to the art of the early modern period. Harrison, Wood and Gaiger have collected writing by artists, critics, philosophers, literary figures and administrators of the arts, some reprinted in their entirety, others excerpted from longer works. A wealth of material from French, German, Italian, Spanish, Dutch and Latin sources is also provided, including many new translations. Among the major themes treated are early arguments over the relative merits of ancient and modern art, debates between the advocates of form and color, the beginnings of modern art criticism in reviews of the Salon, art and politics during the French Revolution, the rise of landscape painting, and the artistic theories of Romanticism and Neo-classicism. Each section is prefaced by an essay that situates the ideas of the period in their historical context, while relating theoretical concerns and debates to developments in the practice of art. Each individual text is also accompanied by a short introduction. An extensive bibliography and full index are provided. For more details of our book and journal list in Art, visit http://www.blackwellpublishing.com/arttheory

Table of Contents

  • Acknowledgements. A Note on the Presentation and Editing of Texts. General Introduction. Part I: Establishing the Place of Art:. Introduction. 1. Ancients and Moderns:. 1. From The Painting of the Ancients 1637: Franciscus Junius. 2. Letter to Junius 1637: Peter Paul Rubens. 3. From The Art of Painting, its Antiquity and Greatness 1649: Francisco Pacheco. 4. Dedication to Constantijn Huygens from Icones I 1660: Jan de Bisschop. 5. From Painting Illustrated in Three Dialogues 1685: William Aglionby. 6. 'A Digression on the Ancients and the Moderns' 1688: Bernard le Bovier de Fontenelle. 7. Preface and 'Second Dialogue' from Parallel of the Ancients and Moderns 1688: Charles Perrault. 8. From Reflections upon Ancient and Modern Learning 1694: William Wotton. 2. The Academy: Systems and Principles:. 9. Letters to Chantelou and to Chambray 1647/1665: Nicholas Poussin. 10. Observations on Painting c. 1660-5: Nicholas Poussin. 11. Recollections of Poussin 1662-1685: Various Authors. 12. Petition to the King and to the Lords of his Council 1648: Martin de Charmois. 13. Statutes and Regulations of the Academie Royale de Peinture et de Sculpture 1648. 14. From An Idea of the Perfection of Painting 1662: Roland Freart de Chambray. 15. Letter to Poussin c. 1665: Jean Baptiste Colbert. 16. 'The Idea of the Painter, Sculptor and Architect' 1664: Giovanni Pietro Bellori. 17. From Conversations on the Lives and Works of the Most Excellent Ancient and Modern Painters 1666: Andre Felibien. 18. Preface to Seven Conferences 1667: Andre Felibien. 19. 'First Conference' 1667: Charles LeBrun. 20. 'Second Conference' 1667: Philippe de Champaigne. 21. 'Sixth Conference' 1667: Charles LeBrun. 22. 'Conference on Expression' 1668: Charles LeBrun. 23. Table of Precepts: Expression 1680: Henri Testelin. 3. Form and Colour:. 24. 'De Imitatione Statuorum', before 1640: Peter Paul Rubens. 25. From The Microcosm of Painting 1657: Francesco Scannelli. 26. From 'Diary of the Cavaliere Bernini's Visit to France' 1665: Paul Freart de Chantelou. 27. From De Arte Graphica 1667: Charles-Alphonse Du Fresnoy. 28. 'Remarks on De Arte Graphica' 1668: Roger de Piles. 29. From The Rich Mines of Venetian Painting 1676: Marco Boschini. 30. 'Conference on Titian's Virgin and Child with St John' 1671: Phillipe de Champaigne. 31. 'Conference on the Merits of Colour' 1671: Louis Gabriel Blanchard. 32. 'Thoughts on M. Blanchard's Discourse on the Merits of Colour' 1672: Charles LeBrun. 33. From Dialogue upon Colouring 1673: Roger de Piles. 34. From Practical Discourse on the Most Noble Art of Painting c. 1675: Jusepe Martinez. 35. From The Antiquity of the Art of Painting c. 1690: Felix da Costa. 4. The 'je ne sais quoi':. 36. From The Hero 1637: Baltasar Gracian. 37. From The Art of Worldly Wisdom 1647: Baltasar Gracian. 38. 'Answer to Davenant's Preface to Gondibert' 1650: Thomas Hobbes. 39. From Fire in the Bush and The Law of Freedom in a Platform 1650/2: Gerrard Winstanley. 40. From Pensees c.1654-1662: Blaise Pascal. 41. On Grace and Beauty from Conversations on the Lives and Works of the Most Excellent Ancient and Modern Painters 1666: Andre Felibien. 42. From The Conversations of Aristo and Eugene 1671: Dominique Bouhours. 43. From A Compleat Body of Divinity 1689/1701: Samuel Willard. 44. On Art and Beauty, Before 1716: Gottfried Wilhelm Leibniz. 5. Practical Resources:. 45. From Miniatura
  • or The Art of Limning, Revised 1648: Edward Norgate. 46. On Rembrandt and Jan Lievens c.1630: Constantijn Huygens. 47. Letters to Constantijn Huygens 1636-9: Rembrandt van Rijn. 48. From In Praise of Painting 1642: Philips Angel. 49. From The Art of Painting, its Antiquity and Greatness 1649: Francisco Pacheco. 50. Preface to Perspective Practical 1651: Jean Dubreuil. 51. From Introduction to the Academy of Painting
  • or, The Visible World 1678: Samuel van Hoogstraten. 52. 'The Excellency of Painting' from A Treatise of Perspective 1684: R. P. Bernard Lamy. 53. From Principles for Studying the Sovereign and Most Noble Art of Painting 1693: Jose Garcia Hidalgo. Part II: The Profession of Art:. Introduction. 6. Painting as a Liberal Art:. 54. From The Great Book on Painting 1707: Gerard de Lairesse. 55. From The Principles of Painting 1708: Roger de Piles. 56. On Feminine Studies, After 1700: Rosalba Carriera (1675-1757). 57. 'To the Reader' 1710: Mary Chudleigh. 58. From The Pictorial Museum and Optical Scale 1715-24: Antonio Palomino y Velasco. 59. From Essay on the Theory of Painting 1715: Jonathan Richardson. 60. From The Science of a Connoisseur 1719: Jonathan Richardson. 61. On the Grand Manner, from 'On the Aesthetic of the Painter' 1721: Antoine Coypel. 62. From 'On the Excellence of Painting' 1721: Antoine Coypel. 63. From Cyclopaedia 1728: Ephraim Chambers. 64. 'On Drawings' 1732: Comte de Caylus. 65. 'The Life of Antoine Watteau' 1748: Comte de Caylus. 7. Imagination and Understanding:. 66. 'Of the Association of Ideas' from An Essay Concerning Human Understanding 1700: John Locke. 67. From 'The Moralists, A Philosophical Rhapsody' 1709: Anthony Ashley Cooper, Third Earl of Shaftesbury. 68. From 'A Notion of the Historical Draught of the Tablature of the Judgement of Hercules' 1712: Anthony Ashley Cooper, Third Earl of Shaftesbury. 69. 'On the Pleasures of the Imagination' 1712: Joseph Addison. 70. From Treatise on Beauty 1714: Jean-Pierre de Crousaz. 71. From Critical Reflections on Poetry and Painting 1719: Abbe Jean-Baptiste du Bos. 72. Preface to An Inquiry into the Original of our Ideas of Beauty and Virtue 1725: Francis Hutcheson. 73. 'Third Dialogue' from Alciphron, or the Minute Philosopher 1732: George Berkeley, Bishop of Cloyne. 74. 'Of the Sublime' 1725: Jonathan Richardson. 75. 'The Beau Ideal' 1732: Lambert Hermanson ten Kate. 76. From The Philosopher's Cabinet 1734: Pierre de Marivaux. 77. 'The Beauty of the World' c.1750: Jonathan Edwards. Part III: Judgement and the Public Sphere:. Introduction. 8. Classical and Contemporary:. 78. From A Treatise on Ancient Painting 1740: George Turnbull. 79. From 'Discourse on the Arts and Sciences' 1750: Jean-Jacques Rousseau. 80. From 'Discourse on the Origins of Inequality' 1755: Jean-Jacques Rousseau. 81. From Observations upon the Antiquities of the Town of Herculaneum 1753: Jerome-Charles Bellicard and Charles Nicolas Cochin fils. 82. From Reflections on the Imitation of Greek Works in Painting and Sculpture 1755: Johann Joachim Winckelmann. 83. From An Inquiry into the Beauties of Painting 1761: Daniel Webb. 84. From The Antiquities of Athens 1762: James Stewart and Nicholas Revett. 85. From A History of Ancient Art 1764: Johann Joachim Winckelmann. 86. 'Of the Camera Obscura' from Essay on Painting 1764: Francesco Algarotti. 87. From Laocooen: on the Limitations of Painting and Poetry 1766: Gotthold Ephraim Lessing. 9. Aesthetics and the Sublime:. 88. From Reflections on Poetry 1735: Alexander Gottlieb Baumgarten. 89. 'Prolegomena' to Aesthetica 1750: Alexander Gottlieb Baumgarten. 90. From The Analysis of Beauty 1753: William Hogarth. 91. 'Dialogue on Taste' 1755: Allan Ramsay. 92. 'Of the Standard of Taste' 1757: David Hume. 93. From A Philosophical Inquiry into the Origin of our Ideas of the Sublime and the Beautiful 1757: Edmund Burke. 94. 'An Essay on Taste' 1757: Charles-Louis de Secondat, Baron de Montesquieu. 95. 'Essay on Taste' 1757: Voltaire. 96. Letters to 'The Idler' 1759: Joshua Reynolds. 97. From Conjectures on Original Composition 1759: Edward Young. 98. From Giphantia 1760: Charles Francois Tiphaigne de la Roche. 99. From Aesthetica in Nuce 1762: Johann Georg Hamann. 100. From Reflections on Beauty and Taste in Painting 1762: Anton Raphael Mengs. 101. 'Beautiful, Beauty' from Philosophical Dictionary 1764: Voltaire (Francois-Marie Arouet). 102. 'Of Taste' from Essays on the Intellectual Powers of Man 1785: Thomas Reid. 10. The Practice of Criticism:. 103. Reflections on Some Causes of the Present State of Painting in France 1747: Etienne La Font de Saint-Yenne. 104. From 'Letter on the Exhibition of Works of Painting, Sculpture, etc.' 1747: Jean-Bernard, Abbe le Blanc. 105. From 'Letter on Painting, Sculpture and Architecture' 1748: Louis-Guillaume Baillet de Saint-Julien. 106. 'On Composition' 1750: Comte de Caylus. 107. From Essay on Architecture 1753: Marc-Antoine, Abbe Laugier. 108. 'Letter to M. de Bachaumont on Taste in the Arts and Letters' 1751: Jean-Baptiste de La Curne de Sainte-Palaye. 109. 'Art' from the Encyclopedie 1751: Denis Diderot. 110. 'Genius' from the Encyclopedie 1757: Jean-Francois, Marquis de Saint-Lambert. 111. 'Observation' from the Encyclopedie 1765: Anonymous. 112. From the Correspondence Litteraire 1756: Friedrich Melchior, Baron Grimm. 113. 'Reflexions on Sculpture' 1761: Etienne Falconet. 114. From the 'Salon of 1763', 1763: Denis Diderot. 115. From the 'Salon of 1765' and 'Notes on Painting' 1765: Denis Diderot. 116. From the 'Salon of 1767', 1768: Denis Diderot. Part IV: A Public Discourse:. Introduction. 11. Consolidation and Instruction:. 117. Letter to Richard Graves 1760: William Shenstone. 118. 'Of Academies' c.1760-1: William Hogarth. 119. From 'Letter on Sculpture' 1765: Frans Hemsterhuis. 120. 'A Discourse upon the Academy of Fine Art at Madrid' 1766: Anton Raphael Mengs. 121. Correspondence 1766-7: Benjamin West and John Singleton Copley. 122. On the Death of General Wolfe c.1771: Benjamin West. 123. From Discourses on Art, III, VI and XI 1770-82: Joshua Reynolds. 124. Discourse IX 1780: Joshua Reynolds. 125. On Exhibtions by Angelica Kauffman 1775-86: Various Reviewers. 126. From An Inquiry into the Real and Imaginary Obstructions to the Acquisition of the Arts in England 1774: James Barry. 127. From 'Disconnected Thoughts on Painting, Sculpture and Poetry' 1781: Denis Diderot. 128. From Treatise on the Principles and Rules of Painting 1781: Jean-Etienne Liotard. 129. From A Review of the Polite Arts in France 1782: Valentine Green. 130. 'Address to the Royal Academy of San Fernando regarding the Method of Teaching the Visual Arts' 1792: Francisco Goya. 131. From the Dictionnaire des Arts de Peinture, Sculpture et Gravure 1792: Claude-Henri Watelet and Pierre-Charles Levesque. 132. A Letter to the Dilettanti Society 1798: James Barry. 12. Revolution:. 133. From Memoires Secrets 1783-5: Anonymous. 134. Letter to Joseph-Marie Vien 1789: Charles-Etienne-Gabriel Cuvillier. 135. Review of the Salon of 1789: Comte de Mende Maupas. 136. 'Artists' Demand' 1789: Students of the Academie Royale des Beaux-Arts. 137. Letter to Thomas Jefferson 1789: John Trumbull. 138. Response to Edmund Burke 1790: Mary Wollstonecraft. 139. 'On the System of Teaching' from Considerations on the Arts of Design in France 1791: Antoine Quatremere de Quincy. 140. On his Picture of Le Peletier 1793: Jacques-Louis David. 141. Preliminary Statement to the Official Catalogue of the Salon 1793: Gazat, Minister of the Interior/Anonymous. 142. 'The Jury of Art' 1793: Jacques-Louis David. 143. Proposal for a Monument to the French People 1793: Jacques-Louis David. 144. Project for the Apotheoses of Barra and Viala 1794: Jacques-Louis David. 145. 'Foreword' to the Historical and Chronological Description of the Monuments of Sculpture 1795/7: Alexandre Lenoir. Part V: Nature and Human Nature:. Introduction. 13. The Human as Subject:. 146. Letters 1758-73: Thomas Gainsborough. 147. On Thomas Gainsborough 1788: Joshua Reynolds. 148. 'Of the Effects of Genius' 1770: William Duff. 149. 'On German Architecture' 1772: Johann Wolfgang Goethe. 150. On London, from Letter to Baldinger 1775: Georg Christoph Lichtenberg. 151. From Essays on Physiognomy 1775-8: Johann Kaspar Lavater. 152. From Sculpture: Some Observations on Form and Shape from Pygmalion's Creative Dream 1778: Johann Gottfried Herder. 153. 'What is Enlightenment?' 1784: Immanuel Kant. 154. From 'On the Creative Imitation of Beauty' 1788: Karl Phillip Moritz. 155. From Critique of Judgment 1790: Immanuel Kant. 156. From Essays on the Nature and Principles of Taste 1790: Archibald Alison. 157. From Letters on the Aesthetic Education of Man 1795-6: Friedrich Schiller. 158. From 'On Naive and Sentimental Poetry' 1795-6: Friedrich Schiller. 159. Letter to Karl Friedrich von Heinitz 1796: Asmus Jakob Carstens. 160. The 'Earliest System-Programme of German Idealism' c.1796: Georg Wilhelm Friedrich Hegel. 14. Landscape and the Picturesque:. 161. 'Unconnected Thoughts on Gardening' 1764: William Shenstone. 162. 'The Principles of Painting' from Essays on Prints 1768: William Gilpin. 163. 'Letter on Landscape Painting' 1770: Salomon Gessner. 164. Exchange of Letters on Landscape Painting 1784: Salomon Gessner and Konrad Gessner. 165. From Observations on the River Wye 1782: William Gilpin. 166. 'Landscape (Arts of Design)' from General Theory of the Fine Arts 1771-4: Johann Georg Sulzer. 167. Review of The Fine Arts in their Origin, their True Nature and Best Application, by J.G. Sulzer 1772: Johann Wolfgang Goethe. 168. 'Nature' 1782-3: Georg Christof Tobler. 169. 'A New Method of Assisting the Invention in Drawing Original Compositions of Landscape' 1785: Alexander Cozens. 170. 'On Landscape Painting' 1790: Johann Kaspar Lavater. 171. From 'On Picturesque Beauty' and 'On Picturesque Travel' 1792: William Gilpin. 172. 'On Landscapes and Seapieces' from Charis, or on Beauty and the Beautiful in the Imitative Arts 1793: Friedrich Ramdohr. 173. From 'An Essay on the Picturesque' 1794: Sir Uvedale Price. 174. From The Landscape: A Dramatic Poem 1795: Richard Payne Knight. 175. From 'A Dialogue on the Distinct Characters of the Picturesque and the Beautiful' 1801: Sir Uvedale Price. 176. Notebook and Diary Entires, c.1790 to 1797: Katherine Plymley. 177. 'Letter on Landscape Painting' 1795: Francois Rene, Comte de Chateaubriand. 178. 'On Poetry and Our Relish for the Beauties of Nature' 1797: Mary Wollstonecraft. 179. From Northanger Abbey c.1799-1803: Jane Austen. Part VI: Romanticism:. Introduction. 15. Romantic Aesthetics:. 180. From 'Critical Fragments' 1797: Friedrich Schlegel. 181. From 'Athenaeum Fragments' 1798: Friedrich Schlegel. 182. 'Fugitive Thoughts' 1798-1801: Novalis. 183. From Aphorisms on Art 1802: Joseph Goerres. 184. 'Advertisement' from Lyrical Ballads 1798: William Wordsworth. 185. From Preface to Lyrical Ballads 1800: William Wordsworth. 186. From Description of Paintings in Paris and the Netherlands in the Years 1802-04 1805: Friedrich Schlegel. 187. From 'Concerning the Relation of the Plastic Arts to Nature' 1807: Friedrich Schelling. 188. 'The Spirit of True Criticism' from A Course of Lectures Dramatic Art and Literature 1808: August Wilhelm Schlegel. 189. From 'Aphorisms on Art' 1788-1818: Henry Fuseli. 190. 'On the Principles of Genial Criticism' 1814: Samuel Taylor Coleridge. 191. From A Philosophical View of Reform 1819-20: Percy Bysshe Shelley. 16. Painting and Fiction:. 192. From Confessions from the Heart of an Art-Loving Friar 1796: Wilhelm Wackenroder. 193. From Franz Sternbald's Wanderings 1798: Ludwig Tieck. 194. On the Caprichos 1799: Francisco de Goya. 195. The Blue Flower from Henry of Ofterdingen 1799-1801: Novalis (Friedrich von Hardenberg). 196. Letters 1802: Philipp Otto Runge. 197. From Corinne 1807: Madame de Stael. 198. Letters 1799-1805: William Blake. 199. Marginal Notes to Reynolds' Discourses 1801-9: William Blake. 200. From Descriptive Catalogue 1809: William Blake. 201. Introduction to The Grave 1808: Henry Fuseli. 202. From Views on the Dark Side of Natural Science 1808: Gotthilf Heinrich Schubert. 203. 'Remarks Upon a Landscape Painting Intended as an Altar Piece by Herr Friedrich' 1809: Friedrich Ramdohr. 204. On The Cross in the Mountains, Letter to Schulz 1809: Caspar David Friedrich. 205. 'Various Emotions before a Seascape by Friedrich' 1810: Clemens Brentano. 206. 'Emotions before Friedrich's Seascape' 1810: Heinrich Kleist. 207. 'Letter from a Young Poet to a Young Painter' 1810: Heinrich Kleist. 208. 'Beethoven's Instrumental Music' 1813: E.T.A. Hoffmann. 209. Letter to Arndt 1814: Caspar David Friedrich. Part VII: Observation and Tradition:. Introduction. 17. Objects of Study:. 210. Introduction to the Propylaen 1798: Johann Wolfgang Goethe. 211. From Reflections on the Present Condition of the Female Sex 1798: Priscilla Wakefield. 212. From 'Advice to a Student on Painting, and Particularly on Landscape' 1800: Pierre-Henri de Valenciennes. 213. Letters to Dunthorne 1799-1814: John Constable. 214. 'An Account of a Method of Copying Paintings Upon Glass, and of Making Profiles' 1802: Thomas Wedgwood and Humphry Davy. 215. 'On Landscape Painting' 1803: Karl Ludwig Fernow. 216. From Essays on the Anatomy of Expression in Painting 1806: Charles Bell. 217. Letter to Goethe 1806: Philipp Otto Runge. 218. From Theory of Colours 1810: Johann Wolfgang Goethe. 219. 'Backgrounds, Introduction of Architecture and Landscape' 1811: Joseph Mallord William Turner. 220. From A Treatise on Landscape Painting and Effect in Water Colours 1813-14: David Cox. 221. Preface to Etchings of Rustic Figures 1815: William Henry Pyne. 222. From Daylight: A Recent Discovery in the Art of Painting 1817: Henry Richter. 223. Advice on the Painting of Portraits c.1820-30: Elizabeth Vigee-Lebrun. 18. The Continuity of Symbols:. 224. 'Discourse to the Students of the Royal Academy' 1792: Benjamin West. 225. 'The Painting of the Sabines' 1799: Jacques-Louis David. 226. 'Discourse Addressed to Vien' 1800: Pupils of David. 227. 'Of the Subjects of Pictures' from The Genius of Christianity 1802: Francois-Rene, Comte de Chateaubriand. 228. Letter to Passavant 1808: Franz Pforr. 229. 'The Three Ways of Art' 1810: Friedrich Overbeck. 230. Letter to Joseph Goerres 1814: Peter Cornelius. 231. From The Description of Egypt 1809-20: Edme Francois Jomard (ed., et al). 232. 'Style' after 1810: John Flaxman. 233. From Symbolism and Mythology of the Ancient Peoples, Particularly the Greeks 1810: Georg Friedrich Creuzer. 234. The Debate on the Elgin Marbles 1808-1816:. Letter to the Monthly Magazine 1808: George Cumberland. Letter to the Earl of Elgin 1809: Benjamin West. Letters to de Quincy and the Earl of Elgin 1815: Antonio Canova. From Report of the Parliamentary Select Committee on the Earl of Elgin's Collection of Marbles 1816. From The Judgement of Connoisseurs upon Works of Art 1816: Benjamin Robert Haydon. 'The Fine Arts' from Supplement to the Encyclopaedia Britannica 1816: William Hazlitt. 235. From Notebooks and Letters c.1813-21: Jean Auguste Dominique Ingres. 236. From An Inquiry into the Symbolical Language of Ancient Art and Mythology 1818: Richard Payne Knight. Bibliography. Copyright Acknowledgements. Index.
Volume

1815-1900 : hbk ISBN 9780631200659

Description

"Art in Theory 1815-1900" provides the most wide-ranging and comprehensive collection of documents ever assembled on nineteenth-century theories of art. Like its highly successful companion volume, "Art in Theory 1900-1990", also edited by Charles Harrison and Paul Wood, its primary aim is to provide students and teachers with the documentary material for informed and up-to-date study. Its 260 texts, clear organization and considerable editorial content in this anthology furnish a vivid and indispensable introduction to the history of the art of the period. The anthology is also invaluable to anyone interested in the wider cultural debates of the nineteenth century, and in the development of modern aesthetic theories. Harrison, Wood and Gaiger collect writings by artists, critics, philosophers and literary figures, some reprinted in their entirety, others excerpted from longer works. Among the major themes treated are concepts of genius and originality, modes of landscape painting, approaches to Realism, the question of Modernity and debates over Impressionism, theories of optics and color, the aesthetics of photography, and the rise of photography. Each section is prefaced by an essay that situates the ideas of the period in their historical context, while relating theoretical concerns and debates to developments in the practice of art. Each text is briefly introduced by an outline giving the circumstances of its original appearance and indicating its relevance to the development of modern artistic theory. An extensive bibliography is also provided.

Table of Contents

Acknowledgements.A Note on the Presentation and Editing of Texts.General Introduction.Part I: Feeling and Nature:1. Originality and Genius.2. Responses to Nature.Part II: The Demands of the Present:3. Utility and Revolution.4. Art and Nature Moralised.5. Systems and Techniques.6. The Individual in the Present.Part III: Modernity and Bourgeois Life:7. Modern Conditions.8. Realism and Naturalism.9. Morals and Standards.10. The Conditions of Art.Part IV: Temperaments and Techniques:11. Effects and Impressions.12. Photography as an Art.13. Science and Method.Part V: Aesthetics and Historical Awareness:14. Empathy and the Problem of Form.15. Cultural Criticism.16. The Independence of Art.Part VI: The Idea of Modern Art:17. Modernist Themes: Paris and Beyond.18. Expression and Colour.19. Symbolism.Bibliography.Copyright Acknowledgements.Index.
Volume

1900-2000 : hbk ISBN 9780631227076

Description

Since it was first published in 1992, this book has become one of the leading anthologies of art theoretical texts in the English-speaking world. This expanded edition includes the fruits of recent research, involving a considerable amount of newly-translated material from the entire period, together with additional texts from the last decades of the twentieth century.The features that made the first edition so successful have been retained:The volume provides comprehensive representation of the theories which underpinned developments in the visual arts during the twentieth century. As well as writings by artists, the anthology includes texts by critics, philosophers, politicians, and literary figures. The content is clearly structured into eight broadly chronological sections, starting with the legacy of symbolism and concluding with contemporary debates about the postmodern. The editors provide individual introductions to each of the 371 anthologized texts.Material new to this expanded edition includes texts on African art, on the Bauhaus and on the re-emergent avant-gardes of the period after the Second World War. Post-modernist debates are amplified by texts on gender, on installation and performance art, and on the increasing globalization of culture.

Table of Contents

Preface and Acknowledgements. A Note on the Presentation and Editing of Texts. General Introduction. Part I: The Legacy of Symbolism: Introduction. 1. Classicism and Originality: Paul Signac: from Eugene Delacroix to Neo-Impressionism 1899. Paul Gauguin: letter to Fontainas 1899. Sigmund Freud: from 'On Dreams' 1901. Otto Weininger: from Sex and Character 1903. Max Liebermann: 'Imagination in Painting' 1904. Paul Cezanne: letters to Emile Bernard 1904-06. Rainer Maria Rilke: from Letters on Cezanne 1907. Maurice Denis (intro. Roger Fry): 'Cezanne' 1907. Maurice Denis: 'From Gauguin and Van Gogh to Neo-Classicism' 1909. Julius Meier-Graefe: 'The Mediums of Art, Past and Present' 1904. Giorgio de Chirico: 'Mystery and Creation' 1913. 2. Expression and the Primitive: August Endell: 'The Beauty of Form and Decorative Art' 1897-98. Albert Pinkham Ryder: 'Paragraphs from the Studio of a Recluse' 1905. Andre Derain: letters to Vlaminck c. 1905-1909. Ernst Ludwig Kirchner: programme of Die Brucke 1906. Wilhelm Worringer: from Abstraction and Empathy 1908. Henri Matisse: 'Notes of a Painter' 1908. Roger Fry: 'An Essay in Aesthetics' 1909. Wassily Kandinsky: from Concerning the Spiritual in Art 1911. Wassily Kandinsky: The Cologne Lecture 1914. Franz Marc: 'The +ACI-Savages+ACI- of Germany' and 'Two Pictures' 1912. August Macke: 'Masks' 1912. Emil Nolde: 'On Primitive Art' 1912. Oscar Kokoschka: 'On the Nature of Visions' 1912. Alexander Shevchenko: 'Neo-Primitivism' 1913. Benedetto Croce: 'What is Art? ' 1913. Clive Bell: 'The Aesthetic Hypothesis' 1914. Carl Einstein: 'Negro Sculpture' 1915. Hermann Bahr: from Expressionism 1916. Hans Prinzhorn: from Artistry of the Mentally Ill 1922. Part II: The Idea of the Modern World: Introduction. 3. Modernity: Georg Simmel: 'Metropolis and Mental Life' 1902-3. Max Weber: 'Asceticism and the Spirit of Capitalism' 1904-05. Vladimir Ilyich Lenin: 'Party Organization and Party Literature' 1905. Henri Bergson: from Creative Evolution 1907. Alexander Blok: 'Nature and Culture' 1908. Filippo Tommaso Marinetti: 'The Foundation and Manifesto of Futurism' 1909. Umberto Boccioni et al: 'Futurist Painting: Technical Manifesto' 1910. Robert Delaunay: 'On the Construction of Reality in Pure Painting' 1912. Georgy Valentinovich Plekhanov: from Art and Social Life 1912. Franz Marc: 'Foreword' 1914. Fernand Leger: 'Contemporary Achievements in Painting' 1914. Percy Wyndham Lewis: 'Our Vortex' 1914. Henri Gaudier-Brzeska: 'Gaudier-Brzeska Vortex' 1914, and 'Vortex Gaudier-Brzeska' 1915. Ludwig Meidner: 'Instructions for Painting Pictures of the Metropolis' 1914. Karl Kraus: from 'In These Great Times' 1914. Kasimir Malevich: From Cubism and Futurism to Suprematism: The New Realism in Painting 1915-16. 4. Cubism: Jean Metzinger: 'Note on Painting' 1910. Guillaume Apollinaire: 'The Cubists' 1911. Guillaume Apollinaire: 'On the Subject in Modern Painting' 1912. Guillaume Apollinaire: 'The New Painting: Art Notes' 1912. Guillaume Apollinaire: from The Cubist Painters 1912. Jacques Riviere: 'Present Tendencies in Painting' 1912. Albert Gleizes and Jean Metzinger: from Cubism 1912. Fernand Leger: 'The Origins of Painting and its Representational Value' 1913. Olga Rozanova: 'The Bases of the New Creation' 1913. Daniel-Henry Kahnweiler: from The Rise of Cubism 1916-20. Georges Braque: 'Thoughts on Painting' 1917. Pablo Picasso: 'Picasso Speaks' 1923. Part III: Rationalization and Transformation: Introduction. 5. Neo-Classicism and the Call to Order: Amedee Ozenfant: 'Notes on Cubism' 1916. Guillaume Apollinaire: 'The New Spirit and the Poets' 1918. Oswald Spengler: from The Decline of the West 1918. Carlo Carra: 'Our Antiquity' 1916-18. Leonce Rosenberg: 'Tradition and Cubism' 1919. Giorgio de Chirico: 'The Return to Craft' 1919. Charles Edouard Jeanneret (Le Corbusier) and Amedee Ozenfant: 'Purism' 1920. Albert Gleizes: 'The Dada Case' 1920. Andre Derain: 'On Raphael' 1920. Percy Wyndham Lewis: 'The Children of the New Epoch' 1921. Juan Gris: Reply to a Questionnaire 1921. Gustav Friedrich Hartlaub: 'Reply to a Questionnaire' 1922. 6. Dissent and Disorder: Hugo Ball: 'Dada Fragments' 1916-17. Marcel Duchamp: 'The Richard Mutt Case' 1917. Tristan Tzara: 'Dada Manifesto 1918' 1918. Richard Huelsenbeck: 'First German Dada Manifesto' 1918. Richard Huelsenbeck and Raoul Hausmann: 'What is Dadaism and what does it want in Germany? ' 1919. Richard Huelsenbeck: from En Avant Dada 1920. Alexander Blok: 'The Decline of Humanism' 1918. Novembergruppe: Draft Manifesto 1918 and 'Guidelines' 1919. Novembergruppe Opposition: 'Open Letter to the Novembergruppe' 1921. Walter Gropius: Reply to Arbeitsrat fur Kunst Questionnaire 1919. Max Beckmann: 'Creative Credo' 1918-20. Max Pechstein: 'Creative Credo' 1920. George Grosz: 'My New Pictures' 1921. Francis Picabia: 'Thank you, Francis+ACE-' 1923. 7. Abstraction and Form: Hans Arp: Introduction to a catalogue 1915. Man Ray: Statement 1916. Viktor Shklovsky: from 'Art as Technique' 1917. De Stijl: 'Manifesto 1' 1918. Theo van Doesburg: from Principles of Neo-Plastic Art 1915-25. Piet Mondrian: 'Dialogue on the New Plastic' 1919. Piet Mondrian: Neo-Plasticism: the General Principle of Plastic Equivalence 1920-21. Kasimir Malevich: 'Non-Objective Art and Suprematism' 1919. Kasimir Malevich: The Question of Imitative Art 1920. Naum Gabo and Anton Pevsner: 'The Realistic Manifesto' 1920. UNOVIS: 'Programme of a United Audience in Painting of the Vitebsk State Free Workshops' 1920. Wassily Kandinsky: 'Plan for the Physico-psychological Department of the Russian Academy of Artistic Sciences' 1921. Johannes Itten: 'Analyses of Old Master Art' 1921. Oskar Schlemmer: Notes 1922-23. Walter Gropius: 'The Theory and Organization of the Bauhaus' 1923. Theo van Doesburg, El Lissitsky, Hans Richter: 'Declaration of the International Fraction of Constructivists of the First International Congress of Progressive Artists' 1922-23. 17 Wladyslaw Strzeminski: 'What is legitimately called the New Art. . . ' 1924. El Lissitsky: 'A and Pangeometry' 1925. Hannah Hoch: 'The painter' c. 1920. Jose Ortega y Gasset: from The Dehumanisation of Art 1925. 8. Utility and Construction: KOMFUT: 'Programme Declaration' 1919. Vladimir Tatlin: 'The Initiative Individual in the Collective' 1919. Lyubov Popova: Catalogue statement 1919. Nikolai Punin: 'The Monument to the Third International' 1920. Alexander Rodchenko: 'Slogans' and 'Organizational Programme' 1920-21. Alexander Rodchenko and Varvara Stepanova: 'Programme of the First Working Group of Constructivists' 1922. Alexei Gan: from Constructivism 1922. El Lissitsky and Ilya Ehrenburg: Statement by the editors of Veshch 1922. LEF editorial: 'Whom is LEF alerting? ' 1923. Osip Brik: 'The So-Called +ACI-Formal Method+ACI- 1923. Osip Brik: 'From Picture to Calico-Print' 1924. Vladimir Tatlin: 'Report of the Section for Material Culture's Research Work' 1924. Part IV: Freedom, Responsibility and Power: Introduction. 9. The Modern as Ideal: Paul Klee: from On Modern Art 1924. Amedee Ozenfant: from Foundations of Modern Art 1928. Hans Hofmann: 'On the Aims of Art' 1931. Abstraction-Creation: Editorial Statements 1932 and 1933. Wladyslaw Strzeminski: Statements 1932 and 1933. Carl Gustav Jung: On the concept of the 'archetype' 1934 and 1938. Alfred H. Barr Jr: from Cubism and Abstract Art 1936. Henri Matisse: Statements to Teriade 1936. Naum Gabo: 'The Constructive Idea in Art' 1937. Piet Mondrian: 'Plastic Art and Pure Plastic Art' 1937. Barbara Hepworth: 'Sculpture' 1937. American Abstract Artists: Editorial Statement 1938. Ibram Lassaw: 'On Inventing Our Own Art' 1938. Ben Nicholson: 'Notes on Abstract Art' 1941. 10. Realism as Figuration: Vladimir Ilyich Lenin: 'On Proletarian Culture' 1920. AKhRR: 'Declaration' 1922. AKhRR: 'The Immediate Tasks of AKhRR' 1924. David A. Siqueiros et al: 'A Declaration of Social, Political and Aesthetic Principles' 1922. Red Group: 'Manifesto' 1924. Otto Dix: 'The Object is Primary' 1927. ARBKD (Asso): 'Manifesto' and 'Statutes' 1928. George Grosz: from 'My Life' 1928. Alfred Rosenberg: from The Myth of the Twentieth Century 1930. Georg Lukacs: '+ACI-Tendency+ACI- or Partisanship? ' 1932. Central Committee of the All-Union Communist Party: 'Decree on the Reconstruction of Literary and Artistic Organizations' 1932. John Reed Club of New York: 'Draft Manifesto' 1932. Diego Rivera: The Revolutionary Spirit in Modern Art' 1932. Mario Sironi: 'Manifesto of Mural Painting' 1933. Andrei Zhdanov: 'Speech to the Congress of Soviet Writers' 1934. David A. Siqueiros: 'Towards a Transformation of the Plastic Arts' 1934. Stuart Davis and Clarence Weinstock: 'Abstract Painting in America', 'Contradictions in Abstractions' and 'A Medium of 2 Dimensions' 1935. Grant Wood: from Revolt Against the City 1935. Francis Klingender: 'Content and Form in Art' 1935. Adolf Hitler: Speech Inaugurating the 'Great Exhibition of German Art' 1937. 11. Realism as Critique: Leon Trotsky: from Literature and
Volume

1900-2000 : pbk ISBN 9780631227083

Description

This popular anthology of twentieth-century art theoretical texts has now been expanded to take account of new research, and to include significant contributions to art theory from the 1990s. New edition of this popular anthology of twentieth-century art-theoretical texts. Now updated to include the results of new research, together with significant contributions from the 1990s. Includes writings by critics, philosophers, politicians and literary figures. The editors provide contextual introductions to 340 texts. Complements Art in Theory 1648-1815 and Art in Theory 1815-1900 to create a complete survey of the theories underpinning the development of art in the modern period.

Table of Contents

Preface and Acknowledgements. A Note on the Presentation and Editing of Texts. General Introduction. Part I: The Legacy of Symbolism. Introduction. 1. Classicism and Originality. Paul Signac: from Eugene Delacroix to Neo-Impressionism 1899. Paul Gauguin: letter to Fontainas 1899. Sigmund Freud: from 'On Dreams' 1901. Otto Weininger: from Sex and Character 1903. Max Liebermann: 'Imagination in Painting' 1904. Paul Cezanne: letters to Emile Bernard 1904-06. Rainer Maria Rilke: from Letters on Cezanne 1907. Maurice Denis (intro. Roger Fry): 'Cezanne' 1907. Maurice Denis: 'From Gauguin and Van Gogh to Neo-Classicism' 1909. Julius Meier-Graefe: 'The Mediums of Art, Past and Present' 1904. Giorgio de Chirico: 'Mystery and Creation' 1913. 2. Expression and the Primitive. August Endell: 'The Beauty of Form and Decorative Art' 1897-98. Albert Pinkham Ryder: 'Paragraphs from the Studio of a Recluse' 1905. Andre Derain: letters to Vlaminck c.1905-1909. Ernst Ludwig Kirchner: programme of Die Brucke 1906. Wilhelm Worringer: from Abstraction and Empathy 1908. Henri Matisse: 'Notes of a Painter' 1908. Roger Fry: 'An Essay in Aesthetics' 1909. Wassily Kandinsky: from Concerning the Spiritual in Art 1911. Wassily Kandinsky: The Cologne Lecture 1914. Franz Marc: 'The "Savages" of Germany' and 'Two Pictures' 1912. August Macke: 'Masks' 1912. Emil Nolde: 'On Primitive Art' 1912. Oscar Kokoschka: 'On the Nature of Visions' 1912. Alexander Shevchenko: 'Neo-Primitivism' 1913. Benedetto Croce: 'What is Art?' 1913. Clive Bell: 'The Aesthetic Hypothesis' 1914. Carl Einstein: 'Negro Sculpture' 1915. Hermann Bahr: from Expressionism 1916. Hans Prinzhorn: from Artistry of the Mentally Ill 1922. Part II: The Idea of the Modern World. Introduction. 3. Modernity. Georg Simmel: 'Metropolis and Mental Life' 1902-3. Max Weber: 'Asceticism and the Spirit of Capitalism' 1904-05. Vladimir Ilyich Lenin: 'Party Organization and Party Literature' 1905. Henri Bergson: from Creative Evolution 1907. Alexander Blok: 'Nature and Culture' 1908. Filippo Tommaso Marinetti: 'The Foundation and Manifesto of Futurism' 1909. Umberto Boccioni et al: 'Futurist Painting: Technical Manifesto' 1910. Robert Delaunay: 'On the Construction of Reality in Pure Painting' 1912. Georgy Valentinovich Plekhanov: from Art and Social Life 1912. Franz Marc: 'Foreword' 1914. Fernand Leger: 'Contemporary Achievements in Painting' 1914. Percy Wyndham Lewis: 'Our Vortex' 1914. Henri Gaudier-Brzeska: 'Gaudier-Brzeska Vortex' 1914, and 'Vortex Gaudier-Brzeska' 1915. Ludwig Meidner: 'Instructions for Painting Pictures of the Metropolis' 1914. Karl Kraus: from 'In These Great Times' 1914. Kasimir Malevich: From Cubism and Futurism to Suprematism: The New Realism in Painting 1915-16. 4. Cubism. Jean Metzinger: 'Note on Painting' 1910. Guillaume Apollinaire: 'The Cubists' 1911. Guillaume Apollinaire: 'On the Subject in Modern Painting' 1912. Guillaume Apollinaire: 'The New Painting: Art Notes' 1912. Guillaume Apollinaire: from The Cubist Painters 1912. Jacques Riviere: 'Present Tendencies in Painting' 1912. Albert Gleizes and Jean Metzinger: from Cubism 1912. Fernand Leger: 'The Origins of Painting and its Representational Value' 1913. Olga Rozanova: 'The Bases of the New Creation' 1913. Daniel-Henry Kahnweiler: from The Rise of Cubism 1916-20. Georges Braque: 'Thoughts on Painting' 1917. Pablo Picasso: 'Picasso Speaks' 1923. Part III: Rationalization and Transformation. Introduction. 5. Neo-Classicism and the Call to Order. Amedee Ozenfant: 'Notes on Cubism' 1916. Guillaume Apollinaire: 'The New Spirit and the Poets' 1918. Oswald Spengler: from The Decline of the West 1918. Carlo Carra: 'Our Antiquity' 1916-18. Leonce Rosenberg: 'Tradition and Cubism' 1919. Giorgio de Chirico: 'The Return to Craft' 1919. Charles Edouard Jeanneret (Le Corbusier) and Amedee Ozenfant: 'Purism' 1920. Albert Gleizes: 'The Dada Case' 1920. Andre Derain: 'On Raphael' 1920. Percy Wyndham Lewis: 'The Children of the New Epoch' 1921. Juan Gris: Reply to a Questionnaire 1921. Gustav Friedrich Hartlaub: 'Reply to a Questionnaire' 1922. 6. Dissent and Disorder. Hugo Ball: 'Dada Fragments' 1916-17. Marcel Duchamp: 'The Richard Mutt Case' 1917. Tristan Tzara: 'Dada Manifesto 1918' 1918. Richard Huelsenbeck: 'First German Dada Manifesto' 1918. Richard Huelsenbeck and Raoul Hausmann: 'What is Dadaism and what does it want in Germany?' 1919. Richard Huelsenbeck: from En Avant Dada 1920. Alexander Blok: 'The Decline of Humanism' 1918. Novembergruppe: Draft Manifesto 1918 and 'Guidelines' 1919. Novembergruppe Opposition: 'Open Letter to the Novembergruppe' 1921. Walter Gropius: Reply to Arbeitsrat fur Kunst Questionnaire 1919. Max Beckmann: 'Creative Credo' 1918-20. Max Pechstein: 'Creative Credo' 1920. George Grosz: 'My New Pictures' 1921. Francis Picabia: 'Thank you, Francis!' 1923. 7. Abstraction and Form. Hans Arp: Introduction to a catalogue 1915. Man Ray: Statement 1916. Viktor Shklovsky: from 'Art as Technique' 1917. De Stijl: 'Manifesto 1' 1918. Theo van Doesburg: from Principles of Neo-Plastic Art 1915-25. Piet Mondrian: 'Dialogue on the New Plastic' 1919. Piet Mondrian: Neo-Plasticism: the General Principle of Plastic Equivalence 1920-21. Kasimir Malevich: 'Non-Objective Art and Suprematism' 1919. Kasimir Malevich: The Question of Imitative Art 1920. Naum Gabo and Anton Pevsner: 'The Realistic Manifesto' 1920. UNOVIS: 'Programme of a United Audience in Painting of the Vitebsk State Free Workshops' 1920. Wassily Kandinsky: 'Plan for the Physico-psychological Department of the Russian Academy of Artistic Sciences' 1921. Johannes Itten: 'Analyses of Old Master Art' 1921. Oskar Schlemmer: Notes 1922-23. Walter Gropius: 'The Theory and Organization of the Bauhaus' 1923. Theo van Doesburg, El Lissitsky, Hans Richter: 'Declaration of the International Fraction of Constructivists of the First International Congress of Progressive Artists' 1922-23. 17 Wladyslaw Strzeminski: 'What is legitimately called the New Art...' 1924. El Lissitsky: 'A and Pangeometry' 1925. Hannah Hoech: 'The painter' c. 1920. Jose Ortega y Gasset: from The Dehumanisation of Art 1925. 8. Utility and Construction. KOMFUT: 'Programme Declaration' 1919. Vladimir Tatlin: 'The Initiative Individual in the Collective' 1919. Lyubov Popova: Catalogue statement 1919. Nikolai Punin: 'The Monument to the Third International' 1920. Alexander Rodchenko: 'Slogans' and 'Organizational Programme' 1920-21. Alexander Rodchenko and Varvara Stepanova: 'Programme of the First Working Group of Constructivists' 1922. Alexei Gan: from Constructivism 1922. El Lissitsky and Ilya Ehrenburg: Statement by the editors of Veshch 1922. LEF editorial: 'Whom is LEF alerting?' 1923. Osip Brik: 'The So-Called "Formal Method" 1923. Osip Brik: 'From Picture to Calico-Print' 1924. Vladimir Tatlin: 'Report of the Section for Material Culture's Research Work' 1924. Part IV: Freedom, Responsibility and Power. Introduction. 9. The Modern as Ideal. Paul Klee: from On Modern Art 1924. Amedee Ozenfant: from Foundations of Modern Art 1928. Hans Hofmann: 'On the Aims of Art' 1931. Abstraction-Creation: Editorial Statements 1932 and 1933. Wladyslaw Strzeminski: Statements 1932 and 1933. Carl Gustav Jung: On the concept of the 'archetype' 1934 and 1938. Alfred H. Barr Jr: from Cubism and Abstract Art 1936. Henri Matisse: Statements to Teriade 1936. Naum Gabo: 'The Constructive Idea in Art' 1937. Piet Mondrian: 'Plastic Art and Pure Plastic Art' 1937. Barbara Hepworth: 'Sculpture' 1937. American Abstract Artists: Editorial Statement 1938. Ibram Lassaw: 'On Inventing Our Own Art' 1938. Ben Nicholson: 'Notes on Abstract Art' 1941. 10. Realism as Figuration. Vladimir Ilyich Lenin: 'On Proletarian Culture' 1920. AKhRR: 'Declaration' 1922. AKhRR: 'The Immediate Tasks of AKhRR' 1924. David A. Siqueiros et al: 'A Declaration of Social, Political and Aesthetic Principles' 1922. Red Group: 'Manifesto' 1924. Otto Dix: 'The Object is Primary' 1927. ARBKD (Asso): 'Manifesto' and 'Statutes' 1928. George Grosz: from 'My Life' 1928. Alfred Rosenberg: from The Myth of the Twentieth Century 1930. Georg Lukacs: '"Tendency" or Partisanship?' 1932. Central Committee of the All-Union Communist Party: 'Decree on the Reconstruction of Literary and Artistic Organizations' 1932. John Reed Club of New York: 'Draft Manifesto' 1932. Diego Rivera: The Revolutionary Spirit in Modern Art' 1932. Mario Sironi: 'Manifesto of Mural Painting' 1933. Andrei Zhdanov: 'Speech to the Congress of Soviet Writers' 1934. David A. Siqueiros: 'Towards a Transformation of the Plastic Arts' 1934. Stuart Davis and Clarence Weinstock: 'Abstract Painting in America', 'Contradictions in Abstractions' and 'A Medium of 2 Dimensions' 1935. Grant Wood: from Revolt Against the City 1935. Francis Klingender: 'Content and Form in Art' 1935. Adolf Hitler: Speech Inaugurating the 'Great Exhibition of German Art' 1937. 11. Realism as Critique. Leon Trotsky: from Literature and Revolution 1922-23. Andre Breton: from the First Manifesto of Surrealism 1924. Louis Aragon: from Paris Peasant 1924. Louis Aragon et al. 'Declaration of the Bureau de Recherches Surrealistes' 1925. Andre Breton: Surrealism and Painting 1928. Andre Breton: from the 'Second Manifesto of Surrealism' 1929. George Grosz and Wieland Herzfelde: 'Art is in Danger' 1925. Osip Brik: 'Photography versus Painting' 1926. Sergei Tretyakov: 'We are searching' and 'We Raise the Alarm' 1927. Siegfried Kracauer: from 'The Mass Ornament' 1927. October (Association of Artistic Labour):'Declaration' 1928. Georges Bataille: from 'Critical Dictionary' 1929-30. Georges Bataille: 'The Lugubrious Game' 1929. Salvador Dali: 'The Stinking Ass' 1930. Gustav Klucis: 'Photomontage as a new problem in Agit Art' 1931. Max Ernst: 'What is Surrealism?' 1934. Walter Benjamin: 'The Author as Producer' 1934. Bertolt Brecht: 'Popularity and Realism' 1938. Fernand Leger: 'The New Realism Goes On' 1937. 12. Modernism as Critique. Kasimir Malevich: Letter to Meyerhold 1932. Pablo Picasso: 'Conversation with Picasso' 1935. Herbert Read: 'What is Revolutionary Art?' 1935. Meyer Schapiro: 'The Social Bases of Art' 1936. Jan Mukarvosky: from Aesthetic Function 1934/36. Walter Benjamin: 'The Work of Art in the Age of Mechanical Reproduction' 1936. Theodor Adorno: Letter to Benjamin 1936. Ernst Bloch: 'Discussing Expressionism' 1938. Andre Breton, Diego Rivera and Leon Trotsky: 'Towards a Free Revolutionary Art' 1938. R. G. Collingwood: Good Art and Bad Art' 1938. Clement Greenberg: 'Avant-Garde and Kitsch' 1939. Harold Rosenberg: 'The Fall of Paris' 1940. Part V: The Individual and the Social. Introduction. 13. The American Avant-Garde. Clement Greenberg: 'Towards a Newer Laocoon' 1940. Adolph Gottlieb and Mark Rothko with Barnett Newman: Statement 1943. Jackson Pollock: Answers to a Questionnaire 1944. Jackson Pollock: Two Statements 1947 and 1947/8. Mark Rothko: 'The Romantics were Prompted...' 1947. Mark Rothko: Statement 1947. Adolph Gottlieb: Statement 1947. Barnett Newman: 'The Ideographic Picture' 1947. Barnett Newman: 'The First Man was an Artist' 1947. Clement Greenberg: 'The Decline of Cubism' 1948. Barnett Newman: 'The Sublime is Now' 1948. Willem de Kooning: 'A Desperate View' 1949. Jackson Pollock: Interview with William Wright 1950. David Smith: 'Aesthetics, the Artist and the Audience' 1952. Clyfford Still: Statement 1952. Harold Rosenberg: from 'The American Action Painters' 1952. Clyfford Still: letter to Gordon Smith 1959. 14. Individualism in Europe. Wols: Aphorisms c. 1945-51. Jean-Paul Sartre: from Existentialism and Humanism 1946. Jean Dubuffet: 'Notes for the Well-Lettered' 1946. Jean Dubuffet: 'Crude Art Preferred to Cultural Art' 1948. Antonin Artaud: from Van Gogh: the Man Suicided by Society 1947. Jean-Paul Sartre: 'The Search for the Absolute' 1948. Samuel Beckett and Georges Duthuit: from Three Dialogues 1949. Jacques Lacan: 'The Mirror-Phase as Formative of the Function of the I' 1949. Jean-Michel Atlan: 'Abstraction and Adventure in Contemporary Art' 1950. Francis Ponge: 'Reflections on the Statuettes, Figures and Paintings of Alberto Giacometti' 1951. Albert Camus: 'Creation and Revolution' 1951. Michel Tapie: from An Other Art 1952. Georg Baselitz: 'Pandemonium Manifestos' 1961-2. Francis Bacon: Interview with David Sylvester 1962-3. 15. Art and Society. Maurice de Vlaminck: 'Open Opinions on Painting' 1942. Francis Klingender: from Marxism and Modern Art 1943. Robert Motherwell: 'The Modern Painter's World' 1944. Renato Guttuso: 'Crisis of Renewal' 1944. Pablo Picasso: 'Why I Joined the Communist Party' 1944. Pablo Picasso: Statement to Simone Tery 1945. Frida Kahlo: On Moses 1945. Lucio Fontana: 'The White Manifesto' 1946. Vladimir Kemenov: from 'Aspects of Two Cultures' 1947. Robert Motherwell and Harold Rosenberg: 'The Question of What Will Emerge Is Left Open' 1947/8. Constant: 'Our Own Desires Build the Revolution' 1949. Asger Jorn: 'Forms Conceived as Language' 1949. Andre Fougeron: 'The Painter on his Battlement' 1948. Hans Sedlmayr and Theodor Adorno: from the 'Darmstadt Colloquy' 1950. George Dondero: from The Congressional Record 1949. Arthur M. Schlesinger Jr. from The Politics of Freedom 1950. Alfred H. Barr Jr. 'Is Modern Art Communistic?' 1952. Ben Shahn: 'The Artist and the Politician' 1953. Henry Moore: 'The Sculptor in Modern Society' 1952. David A. Siqueiros: 'Open Letter to the Painters, Sculptors and Engravers of the Soviet Union' 1955. Georg Lukacs: 'The Ideology of Modernism' 1956. Part VI: The Moment of Modernism. 16. Art and Modern Life. Roland Barthes: from 'Myth Today' 1956. Jiro Yoshihara: Gutai Manifesto 1956. Guy Debord: Writings from the Situationist International 1957-61. Asger Jorn: 'Detourned Painting' 1959. Frantz Fanon: 'On National Culture' 1959. Lawrence Alloway: 'The Arts and the Mass Media' 1958. Allan Kaprow: from Assemblages, Environments and Happenings 1959-65. Piero Manzoni: 'Free Dimension' 1960. Pierre Restany: 'The New Realists' 1960. Groupe de Recherche d'Art Visuel: 'Transforming the Current Situation of Plastic Art' 1961/2. George Maciunas: 'Neo-Dada in Music, Theater, Poetry, Art' 1962. Raymond William: 'The Analysis of Culture' 1961. John Cage: 'On Robert Rauschenberg, Artist, and his Work' 1961. Jasper Johns: Interview with David Sylvester 1965. Richard Hamilton: 'For the Finest Art, Try Pop' 1961. Claes Oldenburg: from Documents from The Store 1961. Andy Warhol: Interview with Gene Swenson 1963. Roy Lichtenstein: Lecture to College Art Association 1964. George Kubler: from The Shape of Time 1962. Marshall McLuhan: from Understanding Media 1964. Gerhard Richter: 'Notes 1964-5'. Tony Smith: from an interview with Samuel Wagstaff Jr 1966. Jasper Johns: Obituary of Marcel Duchamp 1968. 17. Modernist Art. Alain Robbe-Grillet: 'Commitment' 1957. David Smith: 'Tradition and Identity' 1959. Maurice Merleau-Ponty: from 'Eye and Mind' 1961. Roger Hilton: 'Remarks about Painting' 1961. Clement Greenberg: 'Modernist Painting' 1960-65. Theodor Adorno: from 'Commitment' 1962. Barnett Newman: Interview with Dorothy Gees Seckler 1962. Clement Greenberg: from 'After Abstract Expressionism' 1962. Michael Fried: from Three American Painters 1965. Michael Fried: from 'Shape as Form: Frank Stella's New Paintings' 1966. Jules Olitski: `Painting in Color' 1967. Stanley Cavell: 'A Matter of Meaning It' 1967. William Tucker and Tim Scott: 'Reflections on Sculpture' 1967. Richard Wollheim: 'The Work of Art as Object' 1970. Part VII: Institutions and Objections. Introduction. 18. Objecthood and Reductivism. Yves Klein: from 'The Evolution of Art towards the Immaterial' 1959. Carl Andre: 'Preface to Stripe Painting' 1959. Frank Stella: Pratt Institute Lecture 1959-60. Ad Reinhardt: 'Art as Art' 1962. Donald Judd: 'Specific Objects' 1965. Robert Morris: 'Notes on Sculpture 1-3' 1966-67. Michael Fried: 'Art and Objecthood' 1967. Sol LeWitt: 'Paragraphs on Conceptual Art' 1967. Sol LeWitt: 'Sentences on Conceptual Art' 1969. Robert Barry: Interview with Arthur R. Rose 1969. Joseph Kosuth: 'Art after Philosophy' 1969. Daniel Buren, Olivier Mosset, Michel Parmentier and Niele Toroni: Statement 1967. Daniel Buren: 'Beware' 1969-70. 19. Attitudes to Form. Terry Atkinson and Michael Baldwin: 'Air Show' 1967. Michelangelo Pistoletto: 'Famous Last Words' 1967. Robert Smithson: 'A Sedimentation of the Mind: Earth Projects' 1968. Robert Morris: 'Notes on Sculpture 4: Beyond Objects' 1969. Art & Language: Editorial introduction to Art-Language 1969. Ian Burn and Mel Ramsden: 'The Role of Language' 1969. Lawrence Weiner: Statements 1969-72. Victor Burgin: 'Situational Aesthetics' 1969. John A. Murphy: Sponsor's statement for 'When Attitudes become Form' 1969. Germano Celant: from Art Povera 1969. Eva Hesse: Interview with Cindy Nemser. Joseph Beuys: 'Not just a few are called, but everyone' 1972. Lea Vergine: from 'The Body as Language' 1974. Bruce Nauman: Interview with Michele De Angelus 1980. 20. Political Aspects. Helio Oiticica: 'Appearance of the Supra-Sensorial' 1967/8. Dan Graham: Presentation to an Open Hearing of the Artworkers Coalition 1969. Mierle Laderman Ukeles: 'Maintenance Art Manifesto' c. 1969. Lucy Lippard: 'Interview with Ursula Meyer' 1969 and 'Postface' 1973. Artforum: 'The Artist and Politics: a Symposium' 1970. Art Workers Coalition: Statement of Demands 1970. Valie Export: 'Woman's Art' 1972. Joseph Beuys: 'I Am Searching for Field Character' 1974. Hans Haacke: Statement 1974. Marcel Broodthaers: 'To be bien pensant... or not to be. To be blind' 1975. Mel Ramsden: from 'On Practice' 1975. Ian Burn: 'The Art Market: Affluence and Degradation' 1975. Victor Burgin: from 'Socialist Formalism' 1976. Art & Language: Editorial to Art-Language 1976. 21. Critical Revisions. Jacques Derrida: from Of Grammatology 1967. Michel Foucault: 'What is an Author?' 1969. Louis Althusser: from 'Ideology and Ideological State Apparatuses' 1970. Thomas Kuhn: from 'Postscript - 1969' 1970. Roland Barthes: 'From Work to Text' 1971. Robert Smithson: 'Cultural Confinement' 1972. Leo Steinberg: from Other Criteria 1968-72. Rosalind Krauss: 'A View of Modernism' 1972. Jean Baudrillard: 'Ethic of Labour, Aesthetic of Play' 1973. Laura Mulvey: 'Visual Pleasure and Narrative Cinema' 1973/75. Michel Foucault: A Lecture 1976. Rosalind Krauss: 'Notes on the Index, Part I' 1976/77. Fredric Jameson: from 'Reflections on the Brecht-Lukacs Debate' 1977. Raymond Williams: 'Dominant, Residual and Emergent' 1977. Edward Said: From Orientalism 1978. Part VIII: Ideas of the Postmodern. Introduction. 22. The Critique of Originality. Jean Baudrillard: 'The Hyper-realism of Simulation'1976. Pierre Bourdieu: 'Being Different' 1977. Craig Owens: 'The Allegorical Impulse' 1980. Rosalind Krauss: from 'The Originality of the Avant-Garde' 1981. Hal Foster: 'Subversive Signs' 1982. Sherrie Levine: Statement 1982. Art & Language: 'Letter to a Canadian Curator' 1982. Barbara Kruger: '"Taking" Pictures' 1982. Peter Halley: 'Nature and Culture' 1983. Fredric Jameson: 'The Deconstruction of Expression' 1984. Haim Steinbach, Jeff Koons, Sherrie Levine, Philip Taaffe, Peter Halley, Ashley Bickerton: 'From Criticism to Complicity' 1986. Julia Kristeva: Interview with Catherine Francblin 1986. 23. Figures of Difference. Edward Said: from 'Opponents, Audiences, Constituencies, and Community' 1981. Mary Kelly: 'Re-Viewing Modernist Criticism' 1981. Ana Mendieta: 'Art and Politics' 1982. Krzysztof Wodiczko: 'Public Projection' 1983. Victor Burgin: from 'The Absence of Presence' 1984. Jacqueline Rose: 'Sexuality in the Field of Vision' 1984/85. Niklas Luhmann: 'The Work of Art and the Self-Reproduction of Art' 1984-86. W. J. T. Mitchell: 'Image and Word' and 'Mute Poesy and Blind Painting' 1986. Raymond Williams: 'When was Modernism?' 1987/89. Louise Bourgeois: Statements from an Interview with Donald Kuspit 1988. Richard Rorty: 'Private Irony and Liberal Hope' 1989. Gayatri Chakravorti Spivak: 'Who Claims Alterity?' 1989. Richard Serra: The Yale Lecture 1990. Mike Kelley: 'Dirty Toys: Mike Kelley Interviewed' 1991/2. Martin Kippenberger: Interview with Jutta Koether 1991/94. Peter Wollen: 'Into the Future: Tourism, Language and Art' 1990/93. Homi K. Bhabha: On 'hybridity' and moving 'beyond' 1994. 24. The Condition of History. Daniel Bell: from 'Modernism and Capitalism' 1978. Jean-Francois Lyotard: 'Introduction' to The Postmodern Condition 1979. Jurgen Habermas: 'Modernity - An Incomplete Project' 1980. Jean-Francois Lyotard: 'What is Postmodernism?' 1982. Julia Kristeva: 'Powers of Horror' 1980. Donald Judd: from '... not about master-pieces but why there are so few of them' 1984. Joseph Beuys, Jannis Kounellis, Anselm Kiefer, Enzo Cucchi: from 'The Cultural-Historical Tragedy of the European Continent' 1986. Gerhard Richter: from 'Interview with Benjamin Buchloh' 1988. Gerhard Richter: Notes 1990. Jeff Wall: from a discussion 1990. Diederich Diederichsen: 'Which Side are You on, Cultural Worker?' 1990. Albert Oehlen: in conversation with Wilfred Dickhoff and Martin Prinzhorn 1991. Olu Oguibe: 'In the Heart of Darkness' 1993. IIlya Kabakov: On installations 1994 and 2000. Doris Salcedo: Interview with Charles Merewether 1999. Franco Moretti: 'MoMA2000: The Capitulation' 2000. Bibliography. Copyright Acknowledgements. Index.

by "Nielsen BookData"

Details

Page Top