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In this fascinating study, Partha Mitter traces the history of
European reactions to Indian art, from the earliest encounters of
explorers with the exotic. East to the more sophisticated but still
incomplete appreciations of the early twentieth century. Mitter's
new Preface reflects upon the profound changes in Western
interpretations of non-Western societies over the past fifteen
years.
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Gombrich: a Theory of Art
Joaquin Lorda; Preface by E.H. Gombrich; Afterword by Partha Mitter; Edited by Ram n Alemany, Mar a Antonia Fr as
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A holistic and systematic analysis of Ernst Gombrich as theorist
Offers the first holistic and systematic analysis of Gombrich's
theoretical ideas and interrogation of their sources Examines both
the history of art and architecture and its current practice
Arranges all of Gombrich's sideas howing the aptitude and validity
of its theoretical load Enables a new understanding of the nature
of Art History and its presuppositions Captures and retains
Gombrich's appeal and humour, and his straightforward style without
losing depth This is the first English translation of Gombrich: una
teor a del arte, by Joaqu n Lorda, originally published in 1991.
Lorda was considered to be one of Gombrich's best students and this
book presents an extensive, expansive and holistic analysis of
Gombrich's thought. It is structured around a set of key ideas and
themes: Science, Joke, Game and Rhetoric. Lorda provides in-depth
analysis of Gombrich's engagement with figures such as Huizinga,
Freud, Hegel, and Popper. While there has been extensive secondary
literature on Gombrich, this is the first book to provide a
systematic analysis of his ideas and theoretical frameworks, taking
into account the entirety of his writings. This major work of
scholarship sheds new light on Gombrich as a thinker and turns
Gombrich's ideas into a workable theory of art that can be used as
an instrument to examine both the history of art and architecture
and its current practice.
This richly illustrated book explores the contested history of art
and nationalism in the tumultuous last decades of British rule in
India. Western avant-garde art inspired a powerful weapon of
resistance among India's artists in their struggle against colonial
repression, and it is this complex interplay of Western modernism
and Indian nationalism that is the core of this book. "The Triumph
of Modernism" takes the surprisingly unremarked Bauhaus exhibition
in Calcutta in 1922 as marking the arrival of European modernism in
India. In four broad sections Partha Mitter examines the decline of
oriental art and the rise of naturalism as well as that of
modernism in the 1920s, and the relationship between primitivism
and modernism in Indian art: with Mahatma Gandhi inspiring the
Indian elite to discover the peasant, the people of the soil became
portrayed by artists as noble savages. A distinct feminine voice
also evolved through the rise of female artists. Finally, the
author probes the ambivalent relationship between Indian
nationalism and imperial patronage of the arts. With a fascinating
array of art works, few of which have either been seen or published
in the West, "The Triumph of Modernism" throws much light on a
previously neglected strand of modern art and introduces the work
of artists who are little known in Europe or America. A book that
challenges the dominance of Western modernism, it will be
illuminating not just to students and scholars of modernism and
Indian art, but to a wide international audience that admires
India's culture and history.
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