Charles Townsend Harrison Bücher

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 lavishly illustrated book is both a detailed history of the development of modern art in England in the early 20th century and a study of the evolution of the concept of modernism among English artists, critics, and theorists. First published in 1981 to great acclaim, the book is now available in paperback with a new introduction and new colour plates. Charles Harrison explores the two main phases of modern art activity during the period: the years before and during the First World War, when the principal factions were Sickert's Camden Town Group, the English Post-Impressionists, and the Vorticists; and the 1930s, when a new avant garde assembled in response to recent developments in European art, only to divide into groupings of abstract artists, Surrealists, and Realists. Harrison discusses the artists of the period, the most important individual works, and the writings of the critics. His book is a major contribution to knowledge about the art and theory of modernism.

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.

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

Modern Art and Modernism offers first-hand material for the study of issues central to the development of modern art, its theory and criticism. The history of modern art is not simply a history of works of art, it is also a history of ideas and interpretations. The works of critics and theorists have not merely been influential in deciding how modern art is to be seen and understood, they have also influenced the course it has taken. The nature of modern art cannot be understood without some analysis of the concept of Modernism itself. Modern Art and Modernism presents a selection of texts by the major contributors to debate on this subject, from Baudelaire to Zola in the 19th century to Greenburg and T J Clark on our own times. It offers a balanced selection of essays by contributors to the mainstream of Modernist criticism, representative examples of writing on the themes of abstraction and expressionism in modern art, and a number of important contributions to the discussion of aesthetics and the social role of the artist.

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.

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.