ABSTRACT
In this volume, the third in his classic series on art theory, Moshe Barasch traces the hidden patterns and interlocking themes in the study of art, from impressionism to abstract art. Barasch details the immense social changes in the creation, presentation, and reception of art which have set the history of art theory on a vertiginous new course: the decreased relevance of workshops and art schools; the replacement of the treatise by the critical review; and the emerging interrelationship between scientific inquiry and artistic theory. The consequent changes in the ways in which critics as well as artists conceptualized paintings and sculptures were radical, marked by an obsession with intense sensory experiences, psychological reflection on the effects of art, and an attraction to the exotic and alien--making for the most exciting and fertile period in the history of art criticism.
TABLE OF CONTENTS
chapter |8 pages
Introduction
part |70 pages
Impressionism
chapter |11 pages
Aesthetic Culture in the Literature of the Time
chapter |10 pages
Impressionism and the Philosophical Culture of the Time
chapter |11 pages
Science and Painting
chapter |10 pages
The Fragment as Art Form
part |109 pages
Empathy
chapter |9 pages
Gustav Fechner
chapter |10 pages
Robert Vischer
chapter |6 pages
Wilhelm Dilthey
chapter |11 pages
Conrad Fiedler
chapter |10 pages
Adolf Hildebrand
chapter |28 pages
Alois Riegl
part |101 pages
Discovering the Primitive
part |79 pages
Abstract Art