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Showing 1 - 13 of 13 matches in All Departments
First published in 2001. Routledge is an imprint of Taylor & Francis, an informa company.
First published in 2001. Routledge is an imprint of Taylor & Francis, an informa company.
Over the centuries, European debate about the nature and status of images of God and sacred figures has often upset the established order and shaken societies to their core. Out of this debate, an identifiable doctrine has emerged of the image in general and of the divine image in particular. This fascinating work concentrates on these historical arguments, from the period of Late Antiquity up to the great and classic defenses of images by St. John of Damascus and Theodore of Studion. Icon extends beyond the immediate concerns of religion, philosophy, aesthetics, history, and art, to engage them all.
First published in 2001. Routledge is an imprint of Taylor & Francis, an informa company.
The book is an analytical survey of the thought about painting and sculpture as it unfolded from the early eighteenth to the mid-nineteenth centuries. This was the period during which theories of the visual arts, particularly of painting and sculpture, underwent a radical transformation, as a result of which the intellectual foundations of our modern views on the arts were formed. Because this transformation can only be understood when seen in a broad context of cultural, aesthetic and philosophical developments of the period, Moshe Barasch surveys the opinions of the artists, and also treats in some detail the doctrines of philosophers, poets and critics. Barasch thus traces for the reader the entire development of modernism in art and art theory. The aesthetic and intellectual developments of the eighteenth and nineteenth centuries that changed our views of the artistic image emphasized some central problems of critical reflection that became the major themes of any thought on art. The artistic symbol, the comprehensive system of the arts, and the relationship of one art with another are discussed in detail. We see the origins of a new perception of the artist's position, as well as the rise of new values in art, such as the role of the grotesque and the ugly in art. In his discussion of Baudelaire's analysis of Goya's monsters, Barasch concludes that the modern world is reflected in art whose beauty is independent of the beauty of nature. The book includes thirty-one black and white illustrations.
Over the centuries, European debate about the nature and status of images of God and sacred figures has often upset the established order and shaken societies to their core. Out of this debate, an identifiable doctrine has emerged of the image in general and of the divine image in particular. This fascinating work concentrates on these historical arguments, from the period of Late Antiquity up to the great and classic defenses of images by St. John of Damascus and Theodore of Studion. Icon extends beyond the immediate concerns of religion, philosophy, aesthetics, history, and art, to engage them all.
Moshe Barasch, an authority on art theory, tackles the complex question of how art works as language. Barasch shows how, once an art work is seen and understood, a new, communicative function is effectively added to the work. In an engaging style Barasch moves from the art and civilization of Ancient Egypt to that of modern Europe, and effortlessly shows a full and surprising range of language in art--from the magical to the impious, from the ambiguous to the didactic, from the scientific to the propagandistic. Barasch contemplates a variety of mediums including sculpture, painting, mural, statuary, woodcuts, bas-relief, even music. Over one hundred illustrations are included as an integral part of the discussion.
This is an analytical survey of the thought about painting and sculpture as it unfolded from the early eighteenth to the mid-nineteenth centuries. This was the period during which theories of the visual arts, particularly of painting and sculpture, underwent a radical transformation, as a result of which the intellectual foundations of our modern views on the arts were formed. Because this transformation can only be understood when seen in a broad context of cultural, aesthetic, and philosophical developments of the period, Moshe Barasch surveys the opinions of the artists, and also treats in some detail the doctrines of philosophers, poets, and critics. Barasch thus traces for the reader the entire development of modernism in art and art theory.
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