Modern Theories of Art, 2: From Impressionism to Kandinsky

By Moshe Barasch | Go to book overview

Subject Index
Abbild, 38
Abstract art, 11, 293–369; religious heritage in, 304–307
Abstract as crystalline, 176
Abstraction, Worringer on, 179–180
Abstract painting, subject matter of, 309–319
Abstraktion und Einfühlung, 171–172
Accozamento, Baldinucci on, 354
“A esthetic culture,” 20
“A estheticism,” 18
Aesthetic laws, 86
Aesthetics “from below,” 85; as applied psychology (Jung), 175; empirical (Fechner), 85; as science (Fechner), 88
African art, 272–289; discovery of, 272–273
African masks, 273–274, 280, 281, 285
Alienation, 183
Altamira, 211; reception of the wall paintings, 211–212
Anatomy, 4
Animatio: Fechner, 90; Vischer, 104
“A ntedeluvian,” 205, 206
Anthropology, 295
Arabesque, 346
Archaic art (Löwy), 258
Archetypes, 140
Architecture, origin of (Semper), 208
Art and magic (Reinach), 213–214
Art and nature: Bergson on, 31; Fiedler on, 129
Art criticism, 3
Art of drawing, 251
Associationism, 326–327
autonomous fragment, 70–73
Beauty (Darwin on), 97
Benin, 276
Blaue Reiter, 274–275, 329
Body, in occult doctrines, 303
Bozzetti, in Renaissance, 70–71
Brightness and darkness, 40
Brücke, Die, 274–275
Brushwork, 62–66
Carving, Hildebrand on, 137, 141
Cave painting, 213
Character, 94
“Charm of imperfection” (Nietzsche), 72
Chiaroscuro, 57
Children's drawings, 254
Color, 54–61; in abstract painting, 320–340; aesthetics of, 59–61; affects spectator directly, 326; Byzantine approach to, 337; evokes moods, 325; in Greek art, 259; without mimetic function, 325; power of, 322; scientific aspects of, 55–57
Color experience, levels of, 320–323
Color and line, 323–327
Color perception, 321–323
Color scale, 338–339
Color symbolism, 335
Composition, 342, 352–369; definition of, 354–357; in Impressionism, 51–54; spiritual origin of, 357–360
“Confusing promiscuity” (Goncourt), 22
Contemplation, 14, 19
Crafts, 145
Creatio ex nihilo, 130
Creative process: Fiedler on, 129; Hildebrand on, 134
Crystalline, 162, 180
Crystallinism, 162
Cube, in Egyptian sculpture, 137
“Cubic space vision,” 285
Cubism, 313
Cumulative image, 258
Cycle, historical, 152–153

-386-

Notes for this page

Add a new note
If you are trying to select text to create highlights or citations, remember that you must now click or tap on the first word, and then click or tap on the last word.
One moment ...
Default project is now your active project.
Project items

Items saved from this book

This book has been saved
Highlights (0)
Some of your highlights are legacy items.

Highlights saved before July 30, 2012 will not be displayed on their respective source pages.

You can easily re-create the highlights by opening the book page or article, selecting the text, and clicking “Highlight.”

Citations (0)
Some of your citations are legacy items.

Any citation created before July 30, 2012 will labeled as a “Cited page.” New citations will be saved as cited passages, pages or articles.

We also added the ability to view new citations from your projects or the book or article where you created them.

Notes (0)
Bookmarks (0)

You have no saved items from this book

Project items include:
  • Saved book/article
  • Highlights
  • Quotes/citations
  • Notes
  • Bookmarks
Notes
Cite this page

Cited page

Style
Citations are available only to our active members.
Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

(Einhorn, 1992, p. 25)

(Einhorn 25)

1

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited page

Bookmark this page
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
Settings

Settings

Typeface
Text size Smaller Larger Reset View mode
Search within

Search within this book

Look up

Look up a word

  • Dictionary
  • Thesaurus
Please submit a word or phrase above.
Print this page

Print this page

Why can't I print more than one page at a time?

Full screen
/ 390

matching results for page

Cited passage

Style
Citations are available only to our active members.
Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn, 1992, p. 25).

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn 25)

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences."1

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited passage

Thanks for trying Questia!

Please continue trying out our research tools, but please note, full functionality is available only to our active members.

Your work will be lost once you leave this Web page.

For full access in an ad-free environment, sign up now for a FREE, 1-day trial.

Already a member? Log in now.