Modern Theories of Art, 2: From Impressionism to Kandinsky

By Moshe Barasch | Go to book overview

Bibliographical Essay

Scholarly studies on the art of the late nineteenth and early twentieth centuries abound. They are scattered in publications in different fields and of very different types, and are thus difficult to survey. The following bibliography, as that of the previous volume in this series, in no way aims at completeness; on the contrary, it is highly selective, and to a considerable extent personal. I have designed it to assist the reader who wishes to study the sources of the theories discussed, and to follow up on the problems raised in this volume. I should also like to record some of my major intellectual debts in the study of reflections on art during the four crucial decades to which this volume is devoted.

I have excluded all publications of a general nature—on the history, culture, and even the art of the period discussed in this volume—although interesting suggestions for our specific subject may be found in some of them, and have kept close to our theme, the main trends and developments in the theory of art.


Impressionism

The literature on impressionism, scholarly as well as popular, is large, but not always easy to use. Though many discussions, usually brief ones, on problems of impressionistic art theory are found in the various studies, there is no easily available comprehensive and systematic work devoted primarily to the theoretical foundations and the conceptual implications of this movement in art. In the present essay I can mention only a small sample of the literature.

John Rewald, The History of Impressionism (New York, 1973; original edition 1946; revised edition 1961) is essential not only for the study of impressionism as an art movement, but also for our specific subject, the theory of art. This work contains a great deal of texts (notes, letters, memoirs)

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Modern Theories of Art, 2: From Impressionism to Kandinsky
Table of contents

Table of contents

  • Title Page iii
  • Contents vii
  • Preface ix
  • Introduction 1
  • Part I - Impressionism 9
  • 1: Introduction the Crisis of Realism 11
  • 2: Aesthetic Culture in the Literature of the Time 13
  • 3: Impressionism and the Philosophical Culture of the Time 24
  • 4: Science and Painting 34
  • 5: Impressionism Reflections on Style 45
  • 6: The Fragment as Art Form 69
  • Part II - Empathy 79
  • 7: Introduction an Empathy Tradition in the Theory of Art 81
  • 8: Gustav Fechner 84
  • 9: Charles Darwin the Science of Expression 93
  • 10: Robert Vischer 99
  • 11: Empathy Toward a Definition 109
  • 12: Wilhelm Dilthey 116
  • 13: Conrad Fiedler 122
  • 14: Adolf Hildebrand 133
  • 15: Alois Riegl 143
  • 16: Wilhelm Worringer Abstraction and Empathy 171
  • Part III - Discovering the Primitive 189
  • 17: Introduction Conditions of Modern Primitivism 191
  • 18: The Beginnings of Scholarly Study Gottfried Semper 199
  • 19: Discovering Prehistoric Art Early Questions and Explanations 210
  • 20: Understanding Distant Cultures the Case of Egypt 243
  • 21: Gauguin 262
  • 22: African Art 272
  • Part IV - Abstract Art 291
  • 23: Abstract Art Origins and Sources 293
  • 24: The Subject Matte of Abstract Painting 309
  • 25: Color 320
  • 26: Line 341
  • 27: Composition and Harmony 352
  • Bibliographical Essay 371
  • Name Index 383
  • Subject Index 386
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