Key Writers on Art: From Antiquity to the Nineteenth Century (Routledge Key Guides)

Key Writers on Art: From Antiquity to the Nineteenth Century (Routledge Key Guides)

Language: English

Pages: 288

ISBN: 0415243025

Format: PDF / Kindle (mobi) / ePub

Key Writers on Art: From Antiquity to the Nineteenth Century offers a unique and authoritative guide to theories of art from Ancient Greece to the end of the Victorian era, written by an international panel of expert contributors. Arranged chronologically to provide an historical framework, the 43 entries analyze the ideas of key philosophers, historians, art historians, art critics, artists and social scientists, including Plato, Aquinas, Alberti, Michelangelo, de Piles, Burke, Schiller, Winckelmann, Kant, Hegel, Burckhardt, Marx, Tolstoy, Taine, Baudelaire, Nietzsche, Ruskin, Pater, Wölfflin and Riegl.
Each entry includes:
* a critical essay
* a short biography
* a bibliography listing both primary and secondary texts
Unique in its range and accessibly written, this book, together with its companion volume Key Writers on Art: The Twentieth Century, provides an invaluable guide for students as well as general readers with an interest in art history, aesthetics and visual culture.

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civilization. Literature, in particular, faithfully mirrored the health of cultures. For example, during its long decline Rome produced increasingly deplorable ‘grammatical tricks with words and verses’. Burckhardt’s politically and culturally conservative ideas, derived from his boundless admiration for Schopenhauer, came to the fore in The Age of Constantine the Great, with his frequent asides to the reader about the shocking failures of modern education to provide an adequate basis for the

Thoré-Burger, Edouard Manet, Eugène Fromentin’, Colloque Eugène Fromentin (1976), Travaux et mémoires de la Maison Descartes, Amsterdam, No.1, Lille, Publications de l’Université Lille III (1979), pp. 53–87. Jacob van Ruisdael vu par Eugène Fromentin dans Les Maîtres d’autrefois, Nijmegen, Katholieke Universiteit, 1984 (final lecture given to the Catholic University of Nijmegen, 18 May 1984). Schapiro, Meyer, ‘Fromentin as a critic’, Partisan Review (January 1949), pp. 5–51 ; repr. as

pigments, and by instruction on Cennino Cennini (c. 1360—before 1427) 35 applying and punching gold-leaf- an important embellishment to painting at the time. Cennino enlivens his instruction with disarming tips, such as, that the making of ultramarine from lapis lazuli ‘is an occupation for pretty girls rather than for men; for they are always at home, and reliable, and they have more dainty hands’. He also shows knowledge of non-Italian practice, particularly when describing the use of oil

discord constitutive of the inner nature of the Will. Every part of a building has to play a role in displaying the conflict between gravity and rigidity such that ‘if it were possible to remove some part the whole would inevitably collapse’. Schopenhauer’s conclusion that, since the form of every part must be determined ‘by its relation and purpose to the whole’, ornamentation is an architectural irrelevance, thereby anticipating Adolf Loos’s doctrine that ‘form follows function’. The principal

love not of the girl herself, but of her image. You are like a daguerreotype, the ethicist tells the aesthete, signalling the links between aesthetic voyeurism and the modern urban culture of spectatorship epitomized in the flâneur and dandy The Seducer’s Diary (in Either/Or) gives us many glimpses into the Seducer’s visual philosophy He too likes looking at girls in mirrors, but in doing so he laments the mirror’s inability to do anything more than reflect her image: it Søren Kierkegaard

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