ebook img

The Social History of Art PDF

199 Pages·2005·2.69 MB·English
Save to my drive
Quick download
Download
Most books are stored in the elastic cloud where traffic is expensive. For this reason, we have a limit on daily download.

Preview The Social History of Art

THE SOCIAL HISTORY OF ART VOLUME I ‘As much a work of intellectual history as art history, Hauser’s work remains unparalleled in its scope as a study of the relations between the forces of social change and western art from its origins until the middle of the 20th century.’ Johanna Drucker, Professor of Art History, State University of New York ‘Harris’s introductions to each volume—dealing with Hauser’s aims, principles, concepts and terms are extremely useful…. This edition should bring Hauser’s thought to the attention of a new generation of readers.’ Whitney Davis, Professor of Art History, Northwestern University First published in 1951 Arnold Hauser’s commanding work presents an account of the development and meaning of art from its origins in the Stone Age through to the ‘Film Age’. Exploring the interaction between art and society, Hauser effectively details social and historical movements and sketches the frameworks within which visual art is produced. This new edition provides an excellent introduction to the work of Arnold Hauser. In his general introduction to The Social History of Art, Jonathan Harris assesses the importance of the work for contemporary art history and visual culture. In addition, an introduction to each volume provides a synopsis of Hauser’s narrative and serves as a critical guide to the text, identifying major themes, trends and arguments. Arnold Hauser was born in Hungary and studied literature and the history of art at the universities of Budapest, Vienna, Berlin and Paris. In 1921 he returned to Berlin to study economics and sociology under Ernst Troeltsch. From 1923 to 1938 he lived in Vienna where he began work on The Social History of Art. He lived in London from 1938 until 1977, when he returned to his native Hungary. He died in Budapest in 1978. Jonathan Harris is Senior Lecturer in Art History and Critical Theory at the University of Keele. He is the author of Federal Art and National Culture: The Politics of Identity in New Deal America (1995), co- author of Modernism in Dispute: Art Since The Forties (1993) and co-editor of Art in Modern Culture: An Anthology of Critical Texts (1992). The Social History of Art Arnold Hauser, with an introduction by Jonathan Harris Volume I—From Prehistoric Times to the Middle AgesVolume II—Renaissance, Mannerism, BaroqueVolume III—Rococo, Classicism and RomanticismVolume IV—Naturalism, Impressionism, The Film Age THE SOCIAL HISTORY OF ART VOLUME I From Prehistoric Times to the Middle Ages Arnold Hauser with an introduction by Jonathan Harris London and New York First published in two volumes 1951 This edition published in the Taylor & Francis e-Library, 2005. “To purchase your own copy of this or any of Taylor & Francis or Routledge’s collection of thousands of eBooks please go to www.eBookstore.tandf.co.uk.” Third edition 1999 © 1951, 1962, 1999 The Estate of Arnold Hauser Introductions © 1999 Routledge Translated in collaboration with the author by Stanley Godman All rights reserved. No part of this book may be reprinted or reproduced or utilized in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Library of Congress Cataloguing in Publication Data A catalogue record for this book has been requested ISBN 0-203-98484-6 Master e-book ISBN ISBN 0-415-19945-X (Print Edition) (Vol. I) ISBN 0-415-19946-8 (Print Edition) (Vol. II) ISBN 0-415-19947-6 (Print Edition) (Vol. III) ISBN 0-415-19948-4 (Print Edition) (Vol. IV) ISBN 0-415-21386-X (Set) CONTENTS List of illustrations xi General introduction xii Introduction to volume I x xii I Prehistoric times 1 1 Old Stone Age: magic and naturalism 1 Prehistoric naturalism Art in the service of livelihood Art and magic 2 New Stone Age: animism and geometrism 4 Prehistoric geometrism Sacred and profane art Magic and animism The traditionalism of peasant cultures Archaeology and anthropology 3 The artist as magician and priest: art as a profession and domestic craft 9 The emancipation of art as a profession Peasant art and folk art II Ancient-Oriental urban cultures 12 1 Static and dynamic elements in Ancient-Oriental art 12 Urban culture and art Political coercion and artistic quality 2 The status of the artist and the organization of artistic production 14 The priesthood and the royal house as patrons Art education in the temple and palace workshops vi The organization of artistic work 3 The stereotyping of art in the Middle Kingdom 17 The courtly conventions of Egyptian art The rationalization of artistic techniques Frontality 4 Naturalism in the age of Akhenaton 20 The new sensibility The stylistic dualism of Egyptian art The differentiation of style according to subject Egyptian provincial art 5 Mesopotamia 22 Formalism Naturalism in the representation of animals 6 Crete 23 The problem of Cretan art Formal freedom Anti-naturalistic conventions III Greece and Rome 26 1 The heroic and the Homeric ages 26 The heroic age and its social ethics The heroic lay The origins of the epic Bards and rhapsodes The social outlook of the Homeric epics Hesiod Geometrism 2 The archaic style and art at the courts of the Tyrants 32 Aristocratic choral and reflective lyric Statues of Olympian victors The beginnings of individualism in poetry and art vii The courts of the Tyrants Cult and art The autonomy of forms 3 Classical art and democracy 38 Classicism and naturalism The tragedy The mime The tragedy as an instrument of political propaganda Naturalism and stylization in the plastic arts 4 The age of enlightenment in Greece 42 The cultural ideal of the Sophists Euripides Plato and the aestheticism of his time 5 The Hellenistic age 48 The rationalization of international scientific and artistic activity Eclecticism The production of copies The origin of the domestic comedy 6 The Empire and the end of the ancient world 51 Roman portrait sculpture The ‘continuous’ representation Late Roman impressionism and expressionism 7 Poets and artists in the ancient world 54 The social position of poets and artists The divorce between the artist and the work of art The art market Plotinus Changes in the valuation of art and the artist in Rome IV The Middle Ages 58 1 The spirituality of early Christian art 58 viii The concept of the Middle Ages Late classical and early Christian spirituality The decay of the Roman art tradition The didactic character of Christian art 2 The artistic style of Byzantine Caesaropapism 62 The paralysing of private capital by the State The aristocracy of officials The ostentatious courtly style and the monastic style 3 Causes and consequences of iconoclasm 65 The political and military background of iconoclasm The fight against the influence of the monks The stylistic consequences of iconoclasm 4 Art from the age of the migrations to the Carolingian Renaissance 68 The ornamental style of the age of migrations The miniature painting of the Irish monks The Frankish monarchy and the new nobility The shift of the cultural centre from the towns to the countryside The cultural monopoly of the Church The court of Charlemagne as cultural centre The Carolingian Renaissance The elaborate court style and the impressionistic style of book illumination The palace workshop and the monastic workshops 5 The epic poets and their public 75 The decline of the heroic lay The replacement of aristocratic dilettanti by professional poets The romantic theory of the ‘folk epic’ The origins of the ‘chanson de geste’ The descent of the minstrels 6 The organization of artistic production in the monasteries 80 The dissolution of the royal court as a cultural centre ix The separation of craft from the household The decorative arts in the monasteries The monastic workshop as a school of art The ‘anonymity’ of medieval art 7 Feudalism and the Romanesque style 84 The nobility and the clergy The development of feudalism The ‘closed household economy’ Traditionalistic thinking The ecclesiastical ‘culture of authority and coercion’ The formalism of Romanesque art The Cluniac movement and the ‘late Romanesque baroque’ The symbolism of the Romanesque The Last Judgement The secular art of the early Middle Ages 8 The romanticism of court chivalry 92 The revival of the towns and money economy The rise of the bourgeoisie The end of the cultural monopoly of the Church The knighthood The development of aristocratic class-consciousness The knightly system of virtues The concept of the courtly Woman as the upholder of culture The love motif in classical and knightly poetry The theory of the fictitiousness of courtly-chivalric love The sexual-psychological motives of chivalric love The theories of the literary origin of the troubadour lyric The displacement of the clerical by the secular poet Troubadour and minstrel

Description:
Arnold Hauser's The Social History of Art first appeared in 1951, published in two volumes by Routledge and Kegan Paul. The text is over 500,000
See more

The list of books you might like

Most books are stored in the elastic cloud where traffic is expensive. For this reason, we have a limit on daily download.