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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: [...]
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: [...]
Paul Wood is co-editor of Art in Theory 1900 - 1990 (1992) and of Art in Theory 1815 - 1900 (1998). He has published widely on modern art and art history in a variety of journals and exhibition catalogues. He has edited The Challenge of the Avant Garde (1998) and co-edited Investigating Modern Art (1996) and has contributed to Realism, Rationalism, Surrealism, and Modernism in Dispute (both 1993) and to Critical Terms for Art History (1996). He is Senior Lecturer in the Department of Art History at the Open University.
Jason Gaiger is co-editor of Art in Theory 1915 - 1900 (1997). He has published various articles in the field of art history and aesthetics, and has been a visiting lecturer at the Universities of Essex, York and North London. He is currently Lecturer in Art History at the Open University.
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 Académie Royale de Peinture et de Sculpture 1648.
14. From An Idea of the Perfection of Painting 1662: Roland Fréart 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: André Félibien.
18. Preface to Seven Conferences 1667: André Félibien.
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 Fréart 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 Gracián.
37. From The Art of Worldly Wisdom 1647: Baltasar Gracián.
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 Pensées 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: André Félibien.
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: José 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: Abbé 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: Jérôme-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 Laocoön: 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 François 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, Abbé 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, Abbé 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 Encyclopédie 1751: Denis Diderot.
110. 'Genius' from the...
| Erscheinungsjahr: | 2001 |
|---|---|
| Genre: | Importe, Kunst |
| Rubrik: | Kunst & Musik |
| Thema: | Allgemeine Kunst |
| Medium: | Taschenbuch |
| Inhalt: | Kartoniert / Broschiert |
| ISBN-13: | 9780631200642 |
| ISBN-10: | 0631200649 |
| Sprache: | Englisch |
| Einband: | Kartoniert / Broschiert |
| Autor: | Harrison, C |
| Redaktion: |
Harrison, Charles
Gaiger, Jason Wood, Paul |
| Hersteller: | John Wiley and Sons Ltd |
| Verantwortliche Person für die EU: | Produktsicherheitsverantwortliche/r, Europaallee 1, D-36244 Bad Hersfeld, gpsr@libri.de |
| Maße: | 249 x 174 x 55 mm |
| Von/Mit: | Charles Harrison (u. a.) |
| Erscheinungsdatum: | 18.01.2001 |
| Gewicht: | 1,604 kg |
Paul Wood is co-editor of Art in Theory 1900 - 1990 (1992) and of Art in Theory 1815 - 1900 (1998). He has published widely on modern art and art history in a variety of journals and exhibition catalogues. He has edited The Challenge of the Avant Garde (1998) and co-edited Investigating Modern Art (1996) and has contributed to Realism, Rationalism, Surrealism, and Modernism in Dispute (both 1993) and to Critical Terms for Art History (1996). He is Senior Lecturer in the Department of Art History at the Open University.
Jason Gaiger is co-editor of Art in Theory 1915 - 1900 (1997). He has published various articles in the field of art history and aesthetics, and has been a visiting lecturer at the Universities of Essex, York and North London. He is currently Lecturer in Art History at the Open University.
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 Académie Royale de Peinture et de Sculpture 1648.
14. From An Idea of the Perfection of Painting 1662: Roland Fréart 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: André Félibien.
18. Preface to Seven Conferences 1667: André Félibien.
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 Fréart 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 Gracián.
37. From The Art of Worldly Wisdom 1647: Baltasar Gracián.
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 Pensées 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: André Félibien.
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: José 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: Abbé 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: Jérôme-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 Laocoön: 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 François 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, Abbé 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, Abbé 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 Encyclopédie 1751: Denis Diderot.
110. 'Genius' from the...
| Erscheinungsjahr: | 2001 |
|---|---|
| Genre: | Importe, Kunst |
| Rubrik: | Kunst & Musik |
| Thema: | Allgemeine Kunst |
| Medium: | Taschenbuch |
| Inhalt: | Kartoniert / Broschiert |
| ISBN-13: | 9780631200642 |
| ISBN-10: | 0631200649 |
| Sprache: | Englisch |
| Einband: | Kartoniert / Broschiert |
| Autor: | Harrison, C |
| Redaktion: |
Harrison, Charles
Gaiger, Jason Wood, Paul |
| Hersteller: | John Wiley and Sons Ltd |
| Verantwortliche Person für die EU: | Produktsicherheitsverantwortliche/r, Europaallee 1, D-36244 Bad Hersfeld, gpsr@libri.de |
| Maße: | 249 x 174 x 55 mm |
| Von/Mit: | Charles Harrison (u. a.) |
| Erscheinungsdatum: | 18.01.2001 |
| Gewicht: | 1,604 kg |
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