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Books > Arts & Architecture > History of art / art & design styles > 1600 to 1800 > Classicism
By the Roman age the traditional stories of Greek myth had long
since ceased to reflect popular culture. Mythology had become
instead a central element in elite culture. If one did not know the
stories one would not understand most of the allusions in the poets
and orators, classics and contemporaries alike; nor would one be
able to identify the scenes represented on the mosaic floors and
wall paintings in your cultivated friends' houses, or on the
silverware on their tables at dinner.
Goethes Kunstberater Johann Heinrich Meyer (1760-1832) war einer der Hauptakteure der klassizistischen Bewegung um 1800. Die Studie untersucht sein kunstlerisches und schriftstellerisches OEuvre im Wechselverhaltnis. Praktiken der Aufzeichnung vor Ort, des Kopierens und Nachzeichnens werden als zentrale operative Elemente der klassizistischen Theoriebildung und Historisierung der Kunst gesehen. Umfanglich ausgewertet werden auch die italienischen Aufzeichnungen aus den Jahren 1795-1797, die sich als wertvolle Quelle zur Sammlungsgeschichte und Provenienzforschung erweisen. Die Untersuchung von Meyers kunstlerischem und schriftstellerischem Nachlass verfolgt die Rekonstruktion einer kunstlerischen Gelehrtenpraxis, die sich nicht zuletzt in Goethes Farbenlehre produktiv niedergeschlagen hat.
Between 1760 and 1800, British aristocrats became preoccupied with
the acquisition of ancient Greek and Roman artifacts. From marble
busts to intricately painted vases, these antiquities were amassed
in vast collections held in country houses and libraries throughout
Britain. In "Fabricating the Antique," Viccy Coltman examines these
objects and their owners, as well as dealers, restorers, designers,
and manufacturers. She provides a close look at the classical
revival that resulted in this obsession with collecting antiques.
Why does tragedy give pleasure? Why do people who are neither wicked nor depraved enjoy watching plays about suffering and death? Is it because we see horrific matter controlled by majestic art? Or because tragedy actually reaches out to the dark side of human nature? A. D. Nuttall's wide-ranging, lively, and engaging book offers a new answer to this perennial question. Writers discussed include Aristotle, Shakespeare, Nietzsche, and Freud. |
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