Michael Fried

TL;DR: In this article, Dahlhaus and Whittall present four new interpretations of style and idea in late nineteenth-century music treat Nietzsche's penetrating youthful analysis of the contradictions in Wagner's doctrine; the question of periodicization in ''romantic and ''neo-romantic'' music; the underlying kinship between Brahms's and Wagner's responses to the central musical problems of their time; and the true significance of musical nationalism.

TL;DR: Art and Objecthood as discussed by the authors is a collection of essays and reviews written by Fried from 1962 to 1977, focusing on the relationship between painting and beholder in the eighteenth and nineteenth centuries, and his critique of minimalism, particularly the work of Morris and Donald Judd.

TL;DR: Fried argues that the relationship between the photograph and the viewer standing before it that until then had been the province only of painting has come to the fore once again in recent photography and further demonstrates that certain philosophically deep problems associated with notions of theatricality, literalness, and objecthood, and touching on the role of original intention in artistic production, first discussed in his contro-versial essay "Art and Objecthood" (1967) have emerged once again this article.

TL;DR: In this paper, Fried revised the way in which eighteenth-century French painting and criticism were viewed and understood, a reinterpretation supported by immense learning and by a series of brilliantly perceptive readings of paintings and criticism alike.