Modern Theories of Art 2 : : From Impressionism to Kandinsky / / Moshe Barasch.

• Superior document: Title is part of eBook package: De Gruyter New York University Press Archive eBook-Package Pre-2000
• VerfasserIn: Barasch, Moshe,
• Place / Publishing House: New York, NY : : New York University Press, , [2020]; ©1998
• Year of Publication: 2020
• Language: English
• Physical Description: 1 online resource
• Other title: Frontmatter --; Contents --; Preface --; Introduction --; Part I. Impressionism --; 1. Introduction --; 2. Aesthetic Culture in the Literature of the Time --; 3. Impressionism and the Philosophical Culture of the Time --; 4. Science and Painting --; 5. Impressionism --; 6. The Fragment as Art Form --; Part II. Empathy --; 7. Introduction --; 8. Gustav Fechner --; 9. Charles Darwin --; 10. Robert Vischer --; 11. Empathy --; 12. Wilhelm Dilthey --; 13. Conrad Fiedler --; 14. Adolf Hildebrand --; 15. Alois Riegl --; 16. Wilhelm Worringer --; Part III. Discovering the Primitive --; 17. Introduction --; 18. The Beginnings of Scholarly Study --; 19. Discovering Prehistoric Art --; 20. Understanding Distant Cultures --; 21. Gauguin --; 22. African Art --; Part IV. Abstract Art --; 23. Abstract Art --; 24. The Subject Matter of Abstract Painting --; 25. Color --; 26. Line --; 27. Composition and Harmony --; Bibliographical Essay --; Name Index --; Subject Index --; About the Author
• Format: Mode of access: Internet via World Wide Web.
• ISBN: 9780814709054; 9783110716924
• DOI: 10.18574/nyu/9780814709054.001.0001
• Access: restricted access
• Hierarchical level: Monograph
• Statement of Responsibility: Moshe Barasch.

In this volume, the third in his classic series of texts surveying the history of art theory, Moshe Barasch traces the hidden patterns and interlocking themes in the study of art, from Impressionism to Abstract Art. Barasch details the immense social changes in the creation, presentation, and reception of art which have set the history of art theory on a vertiginous new course: the decreased relevance of workshops and art schools; the replacement of the treatise by the critical review; and the interrelation of new modes of scientific inquiry with artistic theory and praxis. The consequent changes in the ways in which critics as well as artists conceptualized paintings and sculptures were radical, marked by an obsession with intense, immediate sensory experiences, psychological reflection on the effects of art, and a magnetic pull to the exotic and alien, making for the most exciting and fertile period in the history of art criticism.