ISBN:
0271013052
Sprache:
Englisch
Seiten:
XII, 154 S.
,
Ill.
DDC:
709/.03
Schlagwort(e):
Meryon, Charles
;
Runge, Philipp Otto
;
Picasso, Pablo
;
Gauguin, Paul
;
Geschichte 1725-1907
;
Art - 18e siècle - Europe
;
Art - 19e siècle - Europe
;
Beeldende kunsten
;
Primitivisme (art)
;
Primitivisme
;
Kunst
;
Art, European
;
Primitivism in art
;
Volk
;
Primitivismus
;
Ästhetik
;
Kunst
;
Europa
;
Europa
;
Primitivismus
;
Kunst
;
Geschichte 1725-1907
;
Primitivismus
;
Ästhetik
;
Geschichte 1725-1907
;
Europa
;
Kunst
;
Primitivismus
;
Geschichte 1725-1907
;
Ästhetik
;
Geschichte 1725-1907
;
Primitivismus
;
Volk
;
Runge, Philipp Otto 1777-1810 Vier Zeiten
;
Picasso, Pablo 1881-1973 Les demoiselles d'Avignon
;
Gauguin, Paul 1848-1903
;
Meryon, Charles 1821-1868
Kurzfassung:
A comprehensive revision of our understanding of the phenomenon of primitivism and its impact on modern art, centering on the invention of the idea of "primitive" art
Kurzfassung:
Art historians have in the past narrowly defined primitivism, limiting their inquiry to examples of direct stylistic borrowing from African, Oceanic, or Native American imagery. The drawbacks of such an approach have become increasingly apparent, the most problematic being its perpetuation of the notion that certain traditions are indeed "primitive." Frances Connelly argues that "primitive" art was not a style at all, but a cultural construction by modern Europeans, a cluster of concepts principally forged during the Enlightenment concerning the nature of the origins of artistic expression. She contends that, instead of the paintings of Gauguin, the publication of Vico's New Science in 1725 lies much closer to the origins of primitivism because it first articulated the essential framework of ideas through which Europeans would understand "primitive" expression
Kurzfassung:
Based upon a close reading of eighteenth- and nineteenth-century sources, including voyage accounts, ethnographies, aesthetic theories, and popular journals, The Sleep of Reason establishes that the term "primitive" art did not refer so much to actual stylistic traditions but to a collection of visual attributes that Europeans construed to be universal characteristics of "primitive" expression, specifically the hieroglyph, the grotesque, and the ornamental. Further, these attributes show that "primitive" expression was constructed as the inverse of the classical ideal. Connelly provides case studies of artists and aestheticians who advocated, attempted, or realized the assimilation of these "primitive" characteristics, including some artists never before associated with primitivism as well as significant reevaluations of Gauguin and Picasso
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