» » Beauty and Art: 1750-2000 (Oxford History of Art)

eBook Beauty and Art: 1750-2000 (Oxford History of Art) epub

by Elizabeth Prettejohn

eBook Beauty and Art: 1750-2000 (Oxford History of Art) epub
  • ISBN: 0192801600
  • Author: Elizabeth Prettejohn
  • Genre: Photography
  • Subcategory: History & Criticism
  • Language: English
  • Publisher: Oxford University Press; 1 edition (July 28, 2005)
  • Pages: 224 pages
  • ePUB size: 1245 kb
  • FB2 size 1392 kb
  • Formats lit mbr lit lrf


Series: Oxford History of Art. Paperback: 224 pages.

Series: Oxford History of Art. Philosopher Immanuel Kant stated that beauty cannot be objective. Beauty is not in the object, but is in the contemplation of the viewer. We should view art in a state of disinterest, not encumbered by our self interest. In other words anyone in any culture should be able to see the beauty in a work of art.

Oxford History of Art. Elizabeth Prettejohn is Professor of Modern

94 MB·1,018 Downloads. Oxford History of Art. Elizabeth Prettejohn is Professor of Modern Victorian Houses and their Details. 79 MB·1,166 Downloads·New! 'Victorian Houses' presents the architectural detailing of the time in the context of the era. Art of Ancient Egypt: A Resource for Educators. 54 MB·1,201 Downloads·New!. Romanticism and the School of Nature Nineteenth-Century Drawings and Paintings from the Karen B. Cohen Collection.

Beauty and Art: 1750-2000 (Oxford History of Art). Elizabeth Prettejohn. Download (pdf, 3. 8 Mb) Donate Read.

1 quote from Beauty and Art 1750-2000: ‘If debates about beauty in ance were fierce . Why was it that beauty mattered so much in such a world?. Elizabeth Prettejohn, Beauty and Art 1750-2000. tags: art, beauty, france.

1 quote from Beauty and Art 1750-2000: ‘If debates about beauty in ance were fierce, that was because beauty was seen to matter.

Elizabeth Prettejohn. Whether you've loved the book or not, if you give your honest and detailed thoughts then people will find new books that are right for them. Elizabeth Prettejohn argues that we simply cannot afford to ignore these questions. Charting over two hundred years of western art, she illuminates the vital relationship between our changing notions of beauty and specific works of art, from the works of Kauffman to Whistler, Ingres to Rosetti, Cezanne to Pollack.

Elizabeth Francesca Prettejohn (born 15 May 1961) is an art historian and author of several books about art history. Her books have included Rossetti and his Circle (1997), The Art of the Pre-Raphaelites (2000) and Art for Art's Sake (2007)

Elizabeth Francesca Prettejohn (born 15 May 1961) is an art historian and author of several books about art history. Her books have included Rossetti and his Circle (1997), The Art of the Pre-Raphaelites (2000) and Art for Art's Sake (2007). She has written exhibition catalogues and papers for journals such as The Burlington Magazine, Journal of Victorian Culture and Art Bulletin.

The Oxford History of Art is a monographic series about the history of art, design and architecture published by Oxford University Press. Beauty and Art: 1750-2000. It combines volumes covering specific periods with thematic volumes. The history is divided into histories of Western Art, Western Architecture, World Art, Western Design, Photography, Western Sculpture, Themes and Genres, and a critical anthology of art writing. The entire work consists of over 30 volumes. The Pacific Arts of Polynesia and Micronesia. Adrienne L. Kaeppler.

Art for Art’s Sake: Aestheticism in Victorian Painting, Yale University Press, 2007, Winner of the 2008 Historians of British Art Book Award in the Single-Author, Post-1800 category. Beauty and Art 1750-2000, Oxford History of Art series, Oxford University Press, 2005

Art for Art’s Sake: Aestheticism in Victorian Painting, Yale University Press, 2007, Winner of the 2008 Historians of British Art Book Award in the Single-Author, Post-1800 category. Beauty and Art 1750-2000, Oxford History of Art series, Oxford University Press, 2005.

Finding books BookSee BookSee - Download books for free. Beauty and Art: 1750-2000 (Oxford History of Art).

What do we mean when we call a work of art "beautiful"? How have artists responded to changing notions of the beautiful? Which works of art have been called beautiful, and why? Fundamental and intriguing questions to artists and art lovers, but ones that are all too often ignored in discussions of art today. Elizabeth Prettejohn argues that we simply cannot afford to ignore these questions. Charting over two hundred years of western art, she illuminates the vital relationship between our changing notions of beauty and specific works of art, from the works of Kauffman to Whistler, Ingres to Rosetti, Cezanne to Pollack. Beautifully illustrated with 100 photographs--60 in full color--Beauty and Art concludes with a challenging question for the future: Why should we care about beauty in the twenty-first century?
Comments: (7)
Linn
Author Prettejohn has written an excellent book, accessible to all, on the relation of beauty to art. She starts with Johann Winckelmann in the 1700s who felt that beauty was important, but not definable. Philosopher Immanuel Kant stated that beauty cannot be objective. Beauty is not in the object, but is in the contemplation of the viewer. We should view art in a state of disinterest, not encumbered by our self interest. In other words anyone in any culture should be able to see the beauty in a work of art.

Madame de Stael takes Kant a bit further and says that art's purpose is to elevate the soul. Victor Cousin in the 19th century constructs a scale going from physical to intellectual to moral beauty. Art should not be a close imitation of nature, but should improve on nature. The artist Delacroix writes that the individuality of the artist produces the beautiful. It makes the bridge between the artist's soul and the observer. Academic painter Ingres felt there was no difference between the beauty of art and that of nature. Then we get to Baudelaire who hated realism. To him art should do something more imaginative than servile imitation of nature.

From there we move on to modernism and postmodernism where beauty seems no longer necessary to art. Color and form become important. The canvas is a two dimensional medium, and thus considered unsuited to scenic representation. Representational art thus takes a dive, and modern critic Greenberg substitutes the word taste for beauty. Taste, in his opinion is based on consensus. If those in the know agree that a work of art is good, then it is good. Of course Greenberg felt his sense of taste was superior.

This is really an excellent introduction to the concept of beauty as applied to visual art. Fortunately, unlike many books on aesthetics, Prettejohn's book contains numerous (127) color prints that help illustrate the concepts being discussed. The book is constantly engrossing, and never pedantic.
Wild Python
The strength of this book is in its discussion on what is beauty from the perspective of a number of philosophers but what is not discussed to the same level is - what is art. Prettejohn limits her study to painting and sculpture. Printmaking, drawing, photography, let alone the media arts don't get a look in. In spite of this, she does provide a very sound foundation that can be readily transferred to any visual art form. Her writing is very readable and it is a bit of a page turner. I recommend it as a thought provoking good read in a subject that has had so little discussion.
Dyni
Needed it for class. It came quickly and was a good read.
saafari
This book is approachable, thorough and excellent reading. The book explores the nature of Beauty in a historical perspective from Da Vinci's time to the present.
Bil
Well. Great is questionable. This is required text for a course I'm in, and the book itself is uninteresting to me. However the book arrived quickly, and it is in fantastic condition.
Nanecele
I found this look at the development of the concept of beauty in art fascinating since I have always taken the idea itself for granted, of course art is beautiful. I never really thought about how that idea had to form and gain acceptance and constant be rethought and re-challenged as art forms changed, grew and matured.
It's easy to forget how shocking the Impressionist movement was in its day or how radical it was to create art for its own sake instead of to teach a lesson or reflect an event in history.
It is easy to forget in general how much of our thoughts and attitudes towards many things have been shaped by those who came before us in ways we don't even realize.
Overall the writing style was very approachable and easy to follow and I loved how many color plates there were so the reader could actually see what the author was referring to especially when comparing and contrasting different works, almost every major example cited was given a colored plate to back it up. This is not done nearly enough in books on art.
There were a few times the writing got a bit dense and hard to follow, mostly in the end of the book as the author delved into our Modern Art, though this may have more to do with my own bias with this art form and critics who write about it than the writing of the author of this book.
Overall this book has made me think more about my own attitudes towards art and to appreciate the work others have done in the past allowing me to experience art in the way I do.
Nagor
I thank Elizabeth Prettejohn for this important work. Beauty as a scholarly subject has received far too little attention during the past century as far as I am aware, and the author of Beauty & Art has provided an invaluable bridge linking nineteenth century art theory and practice with the current redevelopment of aesthetics in art which is now taking place after a century of disregard for Beauty and Pulchrism.
eBooks Related to Beauty and Art: 1750-2000 (Oxford History of Art)
Contacts | Privacy Policy | DMCA
All rights reserved.
lycee-pablo-picasso.fr © 2016-2020