Theories of Art: 3. From Impressionism to KandinskyIn 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. |
Contents
| 1 | |
| 9 | |
| 11 | |
| 13 | |
Impressionism and the Philosophical Culture of the Time | 24 |
Impressionism Reflections on Style | 45 |
The Fragment as Art Form | 69 |
Empathy | 79 |
Wilhelm Worringer Abstraction and Empathy | 171 |
Introduction Conditions of Modern Primitivism | 191 |
The Beginnings of Scholarly Study Gottfried Semper | 199 |
Discovering Prehistoric Art Early Questions and Explanations | 210 |
Understanding Distant Cultures The Case of Egypt | 243 |
Gauguin | 262 |
African Art | 272 |
Abstract Art Origins and Sources | 293 |
Introduction An Empathy Tradition in the Theory of Art | 81 |
Gustav Fechner | 84 |
Charles Darwin The Science of Expression | 93 |
Robert Vischer | 99 |
Empathy Toward a Definition | 109 |
Wilhelm Dilthey | 116 |
Conrad Fiedler | 122 |
Adolf Hildebrand | 133 |
Alois Riegl | 143 |
The Subject Matter of Abstract Painting | 309 |
Color | 320 |
Line | 341 |
Composition and Harmony | 352 |
Bibliographical Essay | 371 |
| 383 | |
| 386 | |
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