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Theodor Fontane als Kunstkritiker

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Book Series: Schriften der Theodor Fontane Gesellschaft ISSN: 1861-4396 ISBN: 9783110516098 Year: Volume: 11 Pages: 456 DOI: 10.1515/9783110516098 Language: German
Publisher: De Gruyter
Subject: Languages and Literatures
Added to DOAB on : 2020-02-18 15:12:41
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This monograph is the first comprehensive appraisal of Theodor Fontane`s complete works of art criticism in all its relevant contexts. It situates Fontane`s writings on art between the realms of the Berlin School`s fully differentiated academic art scholarship and that of feuilleton art criticism, and includes references to his personal writings and fictional works.

Rodin-Lekturen

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ISBN: 9783946198246 9783946198253 9783946198260 9783946198277 Year: Pages: 328 DOI: 10.16994/bah Language: German
Publisher: Modern Academic Publishing
Subject: Social Sciences --- History of arts --- Arts in general
Added to DOAB on : 2017-11-07 11:01:52
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the title Figurenkunst und Künstlerfigur turns to the art-critical writings on the Gates of Hell (1880). In this chapter, famous art critics and writers such as Edmond de Goncourt, Gustave Geffroy, Anatole France and Arthur Symons are at the centerof interest. For the generation of the symbolist art critics, for example, the Gates of Hell became an icon of their own melancholic art doctrine insofar as the art work seemed to stage a temporality of deferral and hesitation which could be understood as a counter-image to an all-too-optimistic belief in historical progress. At the same time, Rodin’s apparent inability to bring this work to an end seemed to betray a very similar understanding of time. Rilke’s and Simmel’s interpretations of Rodin’s work, which are at the core of the following chapter, are described as theoretically ambitious attempts of emulating the art-critical debate at the turn of the century by using innovative narrative strategies of coalescing biographical patterns and reflections on art (Rilke) or by declaring Rodin’s work to be the ideal object for an analysis of modernity in the context of contemporary sociology (Simmel). The sixth chapter, entitled Verlust und Wiederbelebung, turns to two interpretations by German-speaking authors in the years around 1950: the philosopher Günther Anders and the art historian Josef Schmoll. gen. Eisenwerth. Anders, who was also a student of Edmund Husserl, described Rodin’s sculptural images of the human body as artistic expressions of an historical experience of loss and isolation, as objects which could stimulate a deepened reflection about modernity as crises. Josef Schmoll gen. Eisenwerth’s investigations of the motif of the torso, which emerged in the 1950s, rather tried to describe the fragmented body as the »symbol« of an aesthetic experience of totality and holism. Obviously, the art historian’s strategy of emphatically denying the disturbing aesthetic effects of some of Rodin’s torsos can be – at least from today’s perspective – conceived as a way of dealing with the historical experience of the collapse of civilization. The last chapter of the study is entitled Auf dem Weg in die Postmoderne. It focuses on the writings of Leo Steinberg and Rosalind Krauss since the 1960s. While Steinberg was mostly interested in the diverse ways of how Rodin constructed and deconstructed the meanings of his sculptures with the help of the art forms of the »montage« and the »assemblage«, thereby ostentatiously demonstrating the sculptural »semiosis«, Krauss emphatically turned to the problem of ›reading‹ Rodin’s images of the human body. For her, Rodin’s sculptures became emblems of an ›opaque‹ subjectivity and therefore the first artistic realizations of a radically new paradigm of aesthetic reception: Instead of clinging to the traditional notions of psychological and hermeneutical depth in the beholding of sculptures, in her view Rodin’s sculptures emphasize the material surface as the original site of the production of meaning."

Complementary Modernisms in China and the United States:

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ISBN: 9781950192571 Year: Pages: 696 DOI: 10.21983/P3.0269.1.00 Language: English
Publisher: punctum books Grant: Terra Foundation for American Art
Subject: History of arts
Added to DOAB on : 2020-08-05 23:59:06
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Complementary Modernisms in China and the United States: Art as Life/Art as Idea is the result of a conference where Chinese and Americanist art historians addressed the development of modernism in their respective cultural traditions. The chapters juxtapose historical developments without attempting to map connections or influences. Instead, both national modernisms are presented as part of the larger terrain of global modernism, but generated within specific, localized circumstances. This juxtaposition reveals significant differences as much as any particular moments of connection or similarities, disrupting any standard narrative of the primacy of French (or European) avant-garde art and its influence on more belated and peripheral communities.The differences that are revealed are not merely the result of the very different historical trajectories of each country’s moves into modernity. Rather, differences in attention and methodology are just as important, in particular the focus on the post-1980 development of Chinese art as part of the modernization of Chinese culture and economy, rather than the American perspective on post-1980s postmodern qualities. At the same time, significant convergent concerns emerge, such as the importance of urban centers and urbanization, the profound effect of political and technological disruption, and the question of identity.The volume represent a cross-section of Chinese and Americanist art historians, both early career and senior scholars, working on a wide variety of subjects, such as the Ashcan School, Impressionism, Cai Liang, Liang Sicheng, Huang Binhong, Cézanne, Bauhaus, Joseph Cornell, Andrew Wyeth, Louise Nevelson, Jackson Pollock, Andy Warhol, and contemporary art more broadly, with (as is usual in any survey of the 20th century these days) a concentration on the 1960s.《交互视野下的中国和美国的现代艺术: 艺术/生活或观念》这一会议论文集收录了中美艺术史家对现代主义在各自传统下的发展进行研究所得的成果。这些文章并置历史发展,而非试图详述其中的关联或影响。相反,两个国家的现代主义都被展现为全球现代主义大背景中的一部分,并被认为是在特定环境中产生的。这种并置显示了重要的差异性以及任何特殊情况下的联系或相似之处,打破了一般强调法国(或欧洲)先锋派首要地位及其对周围团体产生影响的标准论述。中国与美国现代主义发展上的差异,并不仅仅是由于两国进入不同历史轨道发展现代化而导致的。相反,关注点和方法论的差异也同样重要,尤其是关注八十年代后中国艺术的发展,将其作为中国文化与经济现代化的一部分,而不是从美国视角来看待八十年代后的后现代价值。同时,也出现了重要的趋同关注点:城市中心与城市化的重要性,政治或科技解体所造成的深远影响,以及自我认同的问题。本论文集所收录的文章,彰显了当今重要的中美艺术史家研究的多样性,从资深到青年一代,从阿什坎学派至当代艺术,(并与任何当下对二十世纪作出的概括论述相一致,)将重点放在二十世纪六十年代。

Camillo Sitte - Gesamtausgabe. Schriften und Projekte

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ISBN: 9783205775812 Year: Pages: 642 Seiten DOI: 10.26530/oapen_437149 Language: German
Publisher: Böhlau Grant: Austrian Science Fund - D 3834
Subject: Arts in general
Added to DOAB on : 2013-03-27 11:48:47
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In the Project P16901-G06 sponsored by the FWF, Camillo Sittes writings will be published for the first time in a „critical comprehensive edition“, scheduled for six volumes. The basis for this edition is provided by the “Sitte Nachlass-Archiv” which is owned by the Technical University, Vienna. The writings of volume one consist of Sittes publications in the field of art criticism and the applied arts. Those writings have been, in most cases, shorter publications in newspapers and journals which are difficult to access today. The unpublished and undated autograph “Faust, Fliegender Holländer und Meistersinger” as well as one letter to Richard Wagner from 1873, which is not contained in the Sitte archive, supplement his writings in the field of art criticism. The writings in the field of applied arts throw a new light onto the work of Camillo Sitte as director of vocational schools (i.e. Kunstgewerbeschulen), who elsewise is predominantly known as urban theorist and urban planner only. Those wrintigs give testimony to the political ambitions to foster the applied arts in the k. u. k. monarchy around Rudolf Eitelberger von Edelberg. They comprise almost all areas of arts and craft, ranging from traditional and local trades to the beginnings of industrial production. The writings in the field of art criticism derive mainly from Sittes early time in Vienna and document the vivid debates on the question of art between historism and emerging modern currents like secession, impressionism and expressionism. Furthermore, this thematic field contains a series of writings on Richard Wagner’s conception of art which illustrate Sittes own apprehension of art, as it will have impact especially on his chief work, "City Planning According to Its Artistic Principles" from 1889 (vol. 3 of this edition). Michael Mönninger and Wolfgang Sonne / Ruth Hanisch put these texts into context, inform about the current state of research and establish connections to others of Camillo Sitte’s fields of activity, which will be documented in the volumes of this edition to come. Furthermore, there is an extensive essay on the biography of Camillo Sitte by Michael Mönninger. Editorial work is done by Sonja Hnilica and Bernhard Langer. The Editors are Klaus Semsroth, Michael Mönninger and Christiane C. Collins.

Bildungsbürgertum und völkische Ideologie. Konstitution und gesellschaftliche Tiefenwirkung eines Netzwerks völkischer Autoren (1919-1959)

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Book Series: Quellen und Darstellungen zur Zeitgeschichte ISSN: 0481-3545 ISBN: 9783110415537 Year: Volume: 109 Pages: 479 DOI: 10.1515/9783110415537 Language: German
Publisher: De Gruyter
Subject: History
Added to DOAB on : 2020-02-18 15:12:41

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The moderate folk-nationalist (völkisch) authors Hans Grimm, Erwin Guido Kobenheyer, and Wilhelm Stapel found great appeal among the German social elites. The author analyzes the ideological proclivity of the Weimar educated middle class and the personal networks, construction of self-image, and mentality of völkisch-oriented intellectuals between the end of the First World War and early West Germany.

A Fragile Inheritance

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ISBN: 9781478090311 9781478003380 9781478003014 9781478001867 Year: Pages: 249 DOI: 10.1215/9781478090311 Language: English
Publisher: Duke University Press
Subject: History of arts
Added to DOAB on : 2020-03-28 11:21:04
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In A Fragile Inheritance Saloni Mathur investigates the work of two seminal figures from the global South: the New Delhi-based critic and curator Geeta Kapur and contemporary multimedia artist Vivan Sundaram. Examining their written and visual works over the past fifty years, Mathur illuminates how her protagonists’ political and aesthetic commitments intersect and foreground uncertainty, difficulty, conflict, and contradiction. This book presents new understandings of the culture and politics of decolonization and the role of non-Western aesthetic avant-gardes within the discourses of contemporary art. Through skillful interpretation of Sundaram's and Kapur’s practices, Mathur demonstrates how received notions of mainstream art history may be investigated and subjected to creative redefinition. Her scholarly methodology offers an impassioned model of critical aesthetics and advances a radical understanding of art and politics in our time.

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