Charles Harrison Book order

At once engaging, personal, and analytical, this book provides the intellectual resources for the critical understanding of art Charles Harrison’s landmark book offers an original, clear, and wide-ranging introduction to the arts of painting and sculpture, to the principal artistic print media, and to the visual arts of modernism and post-modernism. Covering the entire history of art, from Paleolithic cave painting to contemporary art, it provides foundational guidance on the basic character and techniques of the different art forms, on the various genres of painting in the Western tradition, and on the techniques of sculpture as they have been practiced over several millennia and across a wide range of cultures. Throughout the book, Harrison discusses the relative priorities of aesthetic appreciation and historical inquiry, and the importance of combining the two approaches. Written in a style that is at once graceful, engaging, and personal, as well as analytical and exact, this illuminating book offers an impassioned and timely defense of the importance and value of the firsthand encounter with works of art, whether in museums or in their original locations.

Diese bis heute umfassendste, zweibändig angelegte Quellensammlung zieht ein enzyklopädisches Resümee der modernen Kunsttheorie in Europa und Amerika. Allen an Kunst, Kunstphilosophie und Kunstkritik interessierten Lesern stellt sie eine repräsentative Auswahl relevanter Texte zur Verfügung, die bisher nur schwer aufzufinden oder verstreut veröffentlicht waren. Die gebundene Ausgabe, die 1998 bei Hatje Cantz erschienen ist, wurde schnell zum 'Standardwerk der Standardtexte', das wir Ihnen nun als broschierte Studienausgabe zu einem sensationell günstigen Preis anbieten können. Die annähernd 400 Beiträge von Künstlern, Kunsttheoretikern, Philosophen, Soziologen, Politikern und Schriftstellern - Manifeste, Aufsätze, Briefe, Essays, Buchkapitel, Interviews, Vortragstexte von 1895 bis 1991 - wurden in acht Hauptkapitel chronologisch und thematisch geordnet und mit editorischen Einführungen versehen; ein Personen- und Sachregister dient der bequemen Erschließung. Gegenüber dem äußerst erfolgreichen englischen Original mit dem Titel Art in Theory von 1992 ist die deutsche Ausgabe um rund 75 Beiträge erweitert worden und macht zudem viele fremdsprachige Texte - von Kasimir Malewitsch bis Jeff Koons, von Georges Bataille bis Gajatri Spivak - erstmals in übersetzter Form zugänglich.

This popular anthology of twentieth-century art theoretical texts has now been expanded to take account of new research, and to include significant contributions to art theory from the 1990s.New edition of this popular anthology of twentieth-century art-theoretical texts. Now updated to include the results of new research, together with significant contributions from the 1990s. Includes writings by critics, philosophers, politicians and literary figures. The editors provide contextual introductions to 340 texts. Complements Art in Theory, 1648–1815 and Art in Theory, 1815–1900 to create a complete survey of the theories underpinning the development of art in the modern period.

Neste livro cinco autores abordam aspectos essenciais na formação de movimentos, como o realismo, o impressionismo e o pós-modernismo, em Paris, entre 1848 e 1900. Analisam os argumentos em favor e em oposição a uma "história social da arte", que compreende as representações como produtos de práticas sociais demarcadas e destacam aspectos pouco estudados, como a influência do feminismo na pintura impressionista.

Art in Theory 1815-1900 provides the most wide-ranging and comprehensive collection of documents ever assembled on nineteenth-century theories of art.

This volume presents a survey of art from the first two decades of the twentieth century. The authors begin by exploring how aspects of the primitive were invoked by the rural artists' colonies formed in France and Germany at the end of the nineteenth century and by the work of the Fauves and the German Expressionists a few years later. The book then develops an analysis of Cubist works based on semiotic theory, considering the social and cultural values encoded in such signifying systems, and investigating the relationship between representation and ideology. The final chapter considers some problems of interpretation and evolution posed by specific examples of abstract art ranging from Malevich to Mondrian.

This comprehensive collection of documents on 19th-century art theories includes 236 texts, offering an essential guide for informed study. Like its companion volume, it presents a wide array of writings from artists, critics, philosophers, and literary figures, with about one-third featuring new translations from various languages. The anthology explores diverse themes such as genius and originality, landscape painting, Realism, Modernity, Impressionism, optics, color theory, and the aesthetics and rise of photography. Each section begins with an essay that contextualizes the ideas historically, linking theoretical debates to artistic practice. Texts are introduced with outlines detailing their original context and significance in the evolution of modern artistic theory. An extensive bibliography further supports research and study. This volume not only serves as a key resource for understanding art theory but also reflects the broader cultural discussions of the 19th century, making it indispensable for scholars and enthusiasts alike.

Critical and theoretical essays by a long-time participant in the Art & Language movement. These essays by art historian and critic Charles Harrison are based on the premise that making art and talking about art are related enterprises. They are written from the point of view of Art & Language, the artistic movement based in England—and briefly in the United States—with which Harrison has been associated for thirty years. Harrison uses the work of Art & Language as a central case study to discuss developments in art from the 1950s through the 1980s. According to Harrison, the strongest motivation for writing about art is that it brings us closer to that which is other than ourselves. In seeing how a work is done, we learn about its achieved identity: we see, for example, that a drip on a Pollock is integral to its technical character, whereas a drip on a Mondrian would not be. Throughout the book, Harrison uses specific examples to address a range of questions about the history, theory, and making of modern art—questions about the conditions of its making and the nature of its public, about the problems and priorities of criticism, and about the relations between interpretation and judgment.