Post-Impressionism to World War II

Post-Impressionism to World War II

Language: English

Pages: 432

ISBN: 1405111534

Format: PDF / Kindle (mobi) / ePub

Post-Impressionism to World War II is an exciting anthology of the best art history writings of the Post-Impressionist period. Several key essays by critics including Benjamin, Greenberg and Bürger knit together primary sources and classic, “canonical” criticism.

  • Collects the most important writings on art history from Post-Impressionism to the mid-20th century, covering both canonical and contemporary perspectives
  • Offers a chronicle of avant-garde practice during an especially creative, if volatile, period of history
  • Features several key essays by critics including Benjamin, Greenberg and Bürger
  • Includes recent critical interventions from a range of methodological perspectives – both well-known and less familiar
  • Organizes material thematically, and features introductory essays to each of the five sections
  • Provides a valuable, stimulating resource for students and teachers alike and offers new ways to think about and teach this important period in art history.

The Path of Humility: Caravaggio and Carlo Borromeo (Renaissance and Baroque: Studies and Texts, Volume 34)

The Anti-Aesthetic: Essays on Postmodern Culture

Images of Leprosy: Disease, Religion, and Politics in European Art (Early Modern Studies, Volume 7)

Boldini (Art dossier Giunti)

Futurism: An Anthology

The Indomitable Spirit of Edmonia Lewis. A Narrative Biography.



















not resemble the naive literary figure who imagines that attention to his handwriting and the addition of futile calligraphic flourishes would contribute something to his work? ** 74 –––––––––––––––––––––––––––––––––––––––––––––––––––– Symbolism in Painting: Paul Gauguin But even if the only real entities in this world are ideas, if objects only reveal the external appearance of these ideas and are thus important only as signs of ideas, it is no less true that to our myopic human eyes – that

almost general. Only the superior man, enlightened by the virtue the Alexandrians so aptly named ecstasy, knowns how to convince himself that he is but a sign, cast by some mysterious preordination into the midst of an innumerable crowd of signs; he alone, tamer of the monster illusion, knows how to stroll as a master in this fantastic temple in which living pillars Sometimes emit confused words whereas the stupid human, fooled by the appearances that will make him repudiate essential ideas,

individuality. All endeavour was therefore directed toward the single form set free from space. Let anyone to whom this thesis of man’s primal need to free the sensuous object from the unclarity imposed upon it by its three-dimensionality, by means of artistic representation seems contrived and far-fetched, recall that a modern artist, and a sculptor at that, has once more felt this need very strongly. I refer to the following sentences from Hildebrand’s Problem der Form: ‘For it is not the task

We should not think that these two principles are beyond art and time. We see these two principles in ancient art, beginning with the art of the savage, and at the climaxes to the various epochs of art. At the moment we should not object to them merely on principle. Just as the color white becomes particularly bright when it is reduced to its bare essence and surrounded by a limitless expanse of black, just as white, when extended into infinity, disintegrates into an unrelieved murkiness, so

1936, having been modified by the institute and made less explicitly political in its terminology. The version here is the well-known English translation of Benjamin’s final version, written 1936–9. Walter Benjamin, ‘‘Small History of Photography,’’ in Benjamin, One-Way Street and Other Writings, trans. Edmund Jephcott and Kinsley Shorter (London: NLB, 1979), pp. 240–57, p. 250. Walter Benjamin, ‘‘Theories of German Fascism’’ (1930), in The Weimar Republic Sourcebook, eds. Kaes, Jay, and

Download sample


Comments are closed.