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This book was published in 2003.Although it is often assumed that
British writing on architectural theory really started in the 18th
century, there is in fact a large corpus of writing on architecture
pre-dating the introduction of Palladianism by Lord Burlington.
Some of it, such as the English editions of Serlio and Palladio,
belongs to the Vitruvian tradition. But many texts elude such easy
classification, such as the prolonged (but hardly studied)
discussions on church architecture, which are both in form and
content very different from the way that theme was handled in
Italian Renaissance treatises. This collection of English writing
on architecture from 1540 to 1750 offers a large selection of
fragments, some of them never published before. They discuss the
nature of architecture, the practicalities of building, the sense
of the past, religious architecture and classicism. All fragments
are introduced and annotated to facilitate use both by
architectural historians and in the class-room.
The Secret Lives of Artworks is a collection of essays on the
phenomenon that viewers treat works of art as living beings: they
attribute life, personhood and agency to them, kiss them, beat
them, or claim that portraits look at viewers, and that statues
move, breathe and speak. This volume engages in existent theories
of these phenomena in art history, psychology, aesthetics and
anthropology developed by the members of the Leiden 'Art, Agency
and Living Presence' group. The Secret Lives of Art Works
identifies new areas of research and presents the theoretical and
historical account exploring the boundaries between 'Art and Life'.
The eighteenth and nineteenth centuries witnessed a change in the
perception of the arts and of philosophy. In the arts this
transition occurred around 1800, with, for instance, the breakdown
of Vitruvianism in architecture, while in philosophy the
foundationalism of which Descartes and Spinoza were paradigmatic
representatives, which presumed that philosophy and the sciences
possessed a method of ensuring the demonstration of truths, was
undermined by the idea, asserted by Nietzsche and Wittgenstein,
that there exist alternative styles of enquiry among which a choice
is open. The essays in this book examine the circumstances,
features, and consequences of this historical transition, exploring
in particular new aspects and instances of the inter-relatedness of
content and its formal representation in both the arts and
philosophy.
The eighteenth and nineteenth centuries witnessed a change in the
perception of the arts and of philosophy. In the arts this
transition occurred around 1800, with, for instance, the breakdown
of Vitruvianism in architecture, while in philosophy the
foundationalism of which Descartes and Spinoza were paradigmatic
representatives, which presumed that philosophy and the sciences
possessed a method of ensuring the demonstration of truths, was
undermined by the idea, asserted by Nietzsche and Wittgenstein,
that there exist alternative styles of enquiry among which a choice
is open. The essays in this book examine the circumstances,
features, and consequences of this historical transition, exploring
in particular new aspects and instances of the inter-relatedness of
content and its formal representation in both the arts and
philosophy.
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