Bernard Smith’s Formalesque and the end of the history of art:
TL;DR: The concept of the Formalesque preoccupied Bernard Smith during the last decades of his life as discussed by the authors and was first propounded in Modernism's History (1998), the formalesque is a proposed period style describing t...
Abstract: The concept of the Formalesque preoccupied Bernard Smith during the last decades of his life. First propounded in Modernism’s History (1998), the Formalesque is a proposed period style describing t...
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TL;DR: The concept of the avantgarde and the concept of a movement has been studied extensively in the history of modernity and modernism as discussed by the authors, with a focus on the two avant-gardes.
Abstract: THE CONCEPT OF THE AVANT-GARDE Prologue Terminological ups-and-downs The two avant-gardes A novel concept, a novel fact THE CONCEPT OF A MOVEMENT Schools and movements The dialectic of movements Activism Antagonism ROMANTICISM AND THE AVANT-GARDE Popularity and unpopularity Romanticism as a precedent Down-with-the-past Anticipations AGONISM AND FUTURISM Nihilism Agonism Futurism Decadence FASHION, TASTE, AND THE PUBLIC Fashion, avant-garde, and stereotype Intelligentsia and elite The intellectual elite The avant-garde and politics THE STATE OF ALIENATION Art and society Psychological and social alienation Econoimic and cultural alienation Stylistic and aesthetic alienation TECHNOLOGY AND THE AVANT-GARDE Experimentalism Scientificism Humorism Nominalistic proof AVANT-GARDE CRITICISM Prerequisites The problem of obscurity Judgment and prejudgment Criticism, right and left AESTHETICS AND POETICS Dehumanization Cerebralism and voluntarism Metaphysics of the metaphor The mystique of purity HISTORY AND THEORY Historical parallels Modernity and modernism The overcoming of the avant-garde Epilogue Bibliography Index
133 citations
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01 Jan 1960
1,235 citations
Book•
01 Jan 1965
TL;DR: The concept of the avantgarde and the concept of a movement has been studied extensively in the history of modernity and modernism as discussed by the authors, with a focus on the two avant-gardes.
Abstract: THE CONCEPT OF THE AVANT-GARDE Prologue Terminological ups-and-downs The two avant-gardes A novel concept, a novel fact THE CONCEPT OF A MOVEMENT Schools and movements The dialectic of movements Activism Antagonism ROMANTICISM AND THE AVANT-GARDE Popularity and unpopularity Romanticism as a precedent Down-with-the-past Anticipations AGONISM AND FUTURISM Nihilism Agonism Futurism Decadence FASHION, TASTE, AND THE PUBLIC Fashion, avant-garde, and stereotype Intelligentsia and elite The intellectual elite The avant-garde and politics THE STATE OF ALIENATION Art and society Psychological and social alienation Econoimic and cultural alienation Stylistic and aesthetic alienation TECHNOLOGY AND THE AVANT-GARDE Experimentalism Scientificism Humorism Nominalistic proof AVANT-GARDE CRITICISM Prerequisites The problem of obscurity Judgment and prejudgment Criticism, right and left AESTHETICS AND POETICS Dehumanization Cerebralism and voluntarism Metaphysics of the metaphor The mystique of purity HISTORY AND THEORY Historical parallels Modernity and modernism The overcoming of the avant-garde Epilogue Bibliography Index
536 citations
"Bernard Smith’s Formalesque and the..." refers methods in this paper
...In this respect, Smith’s understanding of modernism is broadly congruent with Peter Bürger’s account of the ‘historical avant-garde’, which also comprises Dada and Surrealism as movements hostile to the ‘institution of art’ (Bürger 1984)....
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...In this respect, Smith’s understanding of modernism is broadly congruent with Peter Bürger’s account of the ‘historical avant-garde’, which also comprises Dada and Surrealism as movements hostile to the ‘institution of art’ (Bürger 1984)....
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Book•
01 Jan 1994
TL;DR: In this article, the power of images and their role as art has been examined from a modern perspective and in light of its history, including the role of the iconostasis in private and public life.
Abstract: List of Illustrations Foreword 1: Introduction a: The Power of Images and the Limitations of Theologians b: Portrait and Memory c: The Images' Loss of Power and Their New Role as Art 2: The Icon from a Modern Perspective and in Light of Its History a: The "Painter's Manual of Mount Athos" and Romanticism b: The Rediscovery of the Icon in Russia c: Italian Panel Painting as the Heir to the Icon d: The Discoveries in Rome and at Mount Sinai e: Problems with a History of the Icon: The Deficiency of a History of Styles 3: Why Images? Imagery and Religion in Late Antiquity a: The Virgin's Icon Icon Types and Their Meaning b: The Virgin's Personality in the Making: The Mother of God and the Mother of the Gods c: Pagan Images and Christian Icons d: Why Images? 4: Heavenly Images and Earthly Portraits: St. Luke's Picture and "Unpainted" Originals in Rome and the Eastern Empire a: Unpainted Images of Christ and Relics of Touch b: St. Luke's Images of the Virgin and the Concept of the Portrait c: Relic and Image in Private and Public Life d: Early Icons in Papal Rome e: The Image of the "Hodegetria" in Constantinople 5: Roman Funerary Portraits and Portraits of the Saints a: Pagan and Christian Cults of Images b: The Origin of Saint's Images c: Cult Image and Votive Image d: Funerary Portraits and Icons e: Idealism and Realism in the Ancient Portrait 6: The Imperial Image in Antiquity and the Problem of the Christian Cult of Images a: The Worship of the Imperial Image b: The Emperor's Person and the Legal Status of His Image c: The Military Standard and the Cross as Bearers of Images d: Images of Christ in State Iconography 7: Image Devotion, Public Relations, and Theology at the End of Antiquity a: Wall Icons in a Roman Church b: Early Panels in Rome and the Problem of an Iconic Style c: Image and Politics at the Papal Curia d: Styles and Conventions of the Early Icon e: Icons and Politics at the Imperial Court: The Christ Coin f: Icons and Theological Argument 8: Church and Image: The Doctrine of the Church and Iconoclasm a: The Image in Christendom b: Byzantine Iconoclasm c: The Theory of Images and Its Traditions d: Image and Sign, Icon and Cross 9: The Holy Image in Church Decoration and a New Policy of Images a: The Role of the Imperial Court in the Reintroduction of Images b: Patriarch Photius in Hagia Sophia c: New Pictorial Programs in Churches of the Court d: Church Decoration: An Applied Theory of Images e: Liturgy and Images in Church Interiors 10: Pilgrims, Emperors, and Confraternities: Veneration of Icons in Byzantium and Venice a: The Emperors b: Confraternities and Processions c: Pilgrimages and the Program for Visitors to Hagia Sophia d: San Marco in Venice and Its Icons 11: The "Holy Face": Legends and Images in Competition a: The "Original" of the Abgar Image and Its Legend b: The Abgar Image at Constantinople and a New Aesthetics of the Ideal Portrait c: The Veronica in Rome 12: The Iconostasis and the Role of the Icon in the Liturgy and in Private Devotion a: The Church Interior and the Site of the Images b: Cross, Gospel Book, and Icon in Church Ritual c: Votive Images as Instruments of Salvation and as Commemorations of the Donor d: The Chancel Screen as Iconostasis e: Calendar Icons and Biographical Icons 13: "Living Painting": Poetry and Rhetoric in a New Style of Icons in the Eleventh and Twelfth Centuries a: "Icons in the New Style" b: Aesthetics, Ethics, and Theology c: Poetic Continuity in a Changing Society d: The Paradox of the Crucifixion and the Reality of the Image e: Painted Poetry and Treatises: The Narrative Structures of Four Feast-Day Icons f: New Images of the Virgin 14: Statues, Vessels, and Signs: Medieval Images and Relics in the West a: The Different Premises of Image Worship in the West b: The Crucified and the Enthroned Statue as Examples of the Bodily Image c: The Relation of Relic and Image d: A Theological Aesthetic? e: Legends about "Originals" and the Distinction between Image and Persons 15: The Icon in the Civic Life of Rome a: Images and Institutions in the High Middle Ages b: An Old Icon in a New Role: The Madonna as Advocate of the Roman People c: The Competition of the Madonnas d: The Multiplication of an "Original" and the August Procession 16: "In the Greek Manner": Imported Icons in the West a: The Eastern Origin: Idea and Reality b: The Imperial Court in Prague and Its Icons c: The Migration of Images to Italy d: Icons by St. Luke in the Historical Legends of the Renaissance 17: Norm and Freedom: Italian Icons in the Age of the Tuscan Cities a: East and West in Comparison: What Is an Image? b: The Introduction of New Types of Images c: Icon and Devotional Image: The Language of Gestures d: "Maniera greca" and "Dolce stil nuovo": Duccio and the Icon 18: The Madonnas of Siena: The Image in Urban Life a: Feast Images of the Mendicant Orders in Pisa b: The Panels of the Confraternities in Siena and Florence c: The Altarpiece d: Duccio's Synthesis in the Altarpiece for Siena Cathedral 19: The Dialogue with the Image: The Era of the Private Image at the End of the Middle Ages a: Mysticism and the Image in the Practice of Devotion b: Devotional Images and Jewelry at the Courts c: Visual Media in Competition: Panel Paintings and Prints d: Archaism and Quotation in the Aesthetics of the Holy Image e: The Winged Altarpiece as the Stage of the Public Image f: The Pilgrimage to the Fair Virgin of Regensburg 20: Religion and Art: The Crisis of the Image at the Beginning of the Modern Age a: Criticism and Destruction of Images during the Reformation b: Image and Word in the New Doctrine c: Image and Art in Renaissance Painting d: The Controversy over Raphael's Sistine Madonna e: Art as the Mise-en-scene of the Image at the Time of the Counter-Reformation Appendix. Texts on the History and Use of Images and Relics Notes Bibliography Index of Persons and Places Index of Subjects Photo Credits
479 citations
"Bernard Smith’s Formalesque and the..." refers background in this paper
...Conversely, the art of the so-called Romanesque predates the ‘era of art’, when ‘art took on a different meaning and became acknowledged for its own sake – art as invented by famous artists and defended by a proper [art-historical] theory’ (Belting 1997: xxi)....
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TL;DR: The Princeton Classics Edition as discussed by the authors is a collection of illustrations from the Princeton Museum of Modern, Post-Modern, and Contemporary Art with a focus on the history of art and its development.
Abstract: List of Illustrations ix Foreword to the Princeton Classics Edition xi Preface xvii Acknowledgments xxi CHAPTER ONE Introduction: Modern, Postmodern, and Contemporary 3 CHAPTER TWO Three Decades after the End of Art 21 CHAPTER THREE Master Narratives and Critical Principles 41 CHAPTER FOUR Modernism and the Critique of Pure Art: The Historical Vision of Clement Greenberg 61 CHAPTER FIVE From Aesthetics to Art Criticism 81 CHAPTER SIX Painting and the Pale of History: The Passing of the Pure 101 CHAPTER SEVEN Pop Art and Past Futures 117 CHAPTER EIGHT Painting, Politics, and Post-Hisotrical Art 135 CHAPTER NINE The Historical Museum of Monochrome Art 153 CHAPTER TEN Museums and the Thirsting Millions 175 CHAPTER ELEVEN Modalities of History: Possibility and Comedy 193 Index 221
384 citations
"Bernard Smith’s Formalesque and the..." refers background or methods in this paper
...Thus, driven by internal necessity as much as external exigency, modern art ‘began to probe its own identity’ (Danto 1997: 125)....
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...Because the Formalesque exemplifies a type of art, as described by Hans Belting (1987, 2003) and Arthur Danto (1986, 1997)....
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...This is the basis of Arthur Danto’s controversial argument concerning the end of art....
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Book•
01 Jan 1986
TL;DR: In this article, the authors discuss the importance of art, evolution, and the Consciousness of History. But they do not discuss the role of art in the evolution of history.
Abstract: I. The Philosophical Disenfranchisement of Art II. The Appreciation and Interpretation of Works of Art III. Deep Interpretation IV. Language, Art, Culture, Text V. The End of Art VI. Art and Disturbation VII. Philosophy as/and/of Literature VIII. Philosophizing Literature IX. Art, Evolution, and the Consciousness of History
251 citations