Art in Theory  

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Art In Theory is a series of collections of source texts, together with introductions to the selections.

Art in theory, 1648-1815: an anthology of changing ideas

Art in theory, 1648-1815: an anthology of changing ideas from the art in theory series.

Product description:

Art in Theory (1648-1815) provides a wide-ranging and comprehensive collection of documents on the theory of art from the founding of the French Academy until the end of the Napoleonic Wars. Like its highly successful companion volumes, Art in Theory (1815-1900) and Art in Theory (1900-1990), its' primary aim is to provide students and teachers with the documentary material for informed and up-to-date study. Its' 240 texts, clear principles of organization and considerable editorial content offer a vivid and indispensable introduction to the art of the early modern period.

Harrison, Wood and Gaiger have collected writing by artists, critics, philosophers, literary figures and administrators of the arts, some reprinted in their entirety, others excerpted from longer works. A wealth of material from French, German, Italian, Spanish, Dutch and Latin sources is also provided, including many new translations.

Among the major themes treated are early arguments over the relative merits of ancient and modern art, debates between the advocates of form and color, the beginnings of modern art criticism in reviews of the Salon, art and politics during the French Revolution, the rise of landscape painting, and the artistic theories of Romanticism and Neo-classicism.

Contents

I. Establishing the place of art. Ia. Ancients and moderns. -- from Painting of the ancients 1637 / Franciscus Junius -- Letter to Franciscus Junius 1637 / Peter Paul Rubens -- from Art of painting, its antiquity and greatness 1649 / Francisco Pacheco -- Dedication to Constantijn Huygens from Icones I 1660 / Jan de Bisschop -- from Painting illustrated in three dialogues 1685 / William Aglionby -- 'Digression on the ancients and moderns' 1688 / Bernard Le Bovier de Fontenelle -- Preface and 'second dialogue' from Parallel of the ancients and moderns 1688 / Charles Perrault -- from Reflections upon ancient and modern learning 1694 / William Wotton. Ib. Academy: systems and principles. Letters to Chantelou and to Chambray 1647/1665 / Nicolas Poussin -- Observations on painting c. 1660-5 / Nicolas Poussin -- Recollections of Poussin 1662-85 / Various authors -- Petition to the King and to the Lords of his Council 1648 / Martin de Charmois -- Statutes and regulations of the Academ̓ie Royale de Peinture et de sculpture 1648 -- from Idea of the perfection of painting 1662 / Roland Frea̓rt de Chambray -- Letter to Poussin c. 1665 / Jean-Baptiste Colbert -- 'Idea of the painter, sculptor and architect' 1664 / Giovanni Pietro Bellori -- from Conversations on the lives and works of the most excellent ancient and modern painters 1666 / Andre254}0Fel̓ibien -- Preface to Seven conferences 1667 / Andre254}0Fel̓ibien -- 'First conference' 1667 / Charles Le Brun -- 'Second conference' 1667/ Philippe de Champaigne -- 'Sixth conference' 1667 / Charles Le Brun -- 'Conference on expression' 1668 / Charles Le Brun -- Table of precepts: expression 1680 / Henri Testelin. Ic. Form and colour. 'De imitatione statuorum', before 1640 / Peter Paul Rubens -- from Microcosm of painting 1657 / Francesco Scannelli -- from 'Diary of the Cavaliere Bernini's visit to France' 1665 / Paul Frea̓rt de Chantelou -- from De arte graphica 1667 / Charles-Alphonse du Fresnoy -- 'Remarks on De arte graphica' 1668 / Roger de Piles -- from Rich mines of Venetian painting 1676 / Marco Boschini -- 'Conference on Titian's Virgin and Child with St. John' 1671 / Philippe de Champaigne -- 'Conference on the merits of colour' 1671 / Louis Gabriel Blanchard -- 'Thoughts on M. Blanchard's discourse on the merits of colour' 1672 / Charles Le Brun -- from Dialogue upon colouring / Roger de Piles -- from Practical discourse on the Most noble art of painting c. 1675 / Jusepe Martinez -- from Antiquity of the art of painting c. 1690 / Felix da Costa. Id. 'je ne sais quoi'. from Hero 1637 / Baltasar Gracia̕n -- from Art of worldly wisdom 1647 / Baltasar Gracian̓ -- 'Answer to Davenant's preface to Gondibert' 1650 / Thomas Hobbes -- from Fire in the bush and Law of freedom in a platform 1650/2 / Gerrard Winstanley -- from Pensee̓s c. 1654-62 / Blaise Pascal -- On grace and beauty from Conversations on the lives and works of the most excellent ancient and modern painters 1666 / Andre254}0Fel̓ibien -- from Conversations of Aristo and Eugene 1671 / Dominique Bouhours -- from Compleat body of divinity 1689/1701 / Samuel Willard -- On art and beauty, before 1716 / Gottfried Wilhelm Leibniz. Ie. Practical resources. from Miniatura; or Art of Limning, revised 1648 / Edward Norgate -- On Rembrandt and Jan Lievens c. 1630 / Constantijn Huygens the Elder -- Letters to Constantijn Huygens 1636-9 / Rembrandt van Rijn -- from In praise of painting 1642 / Philips Angel -- from Art of painting, its antiquity and greatness 1649 / Francisco Pacheco -- Preface to Perspective practical 1651 /rJean Debreuil -- from Introduction to the academy of painting; or, Visible world 1678 / Samuel van Hoogstraten -- 'Excellency of painting' from Treatise of perspective 1684 / Bernard Lamy -- from Principles for studying the sovereign and most noble art of painting 1693 / Jose254}0Garcia Hidalgo. II. Profession of art. IIa.Painting as a liberal art. -- from Great book on painting 1707 / Ger̓ard de Lairesse -- from Principles of painting 1708 / Roger de Piles -- on feminine studies, after 1700 / Rosalba Carriera -- 'To the reader' 1710 / Mary Chudleigh -- from Pictorial museum and optical scale 1715-24 / Antonio Palomino y Velasco -- from Essay on the theory of painting 1715 / Jonathan Richardson -- from Science of a connoisseur 1719 / Jonathan Richardson -- on the grand manner, from 'On the aesthetic of the painter' 1721 / Antoine Coypel -- from 'On the excellence of painting' 1721/ Antoine Coupel -- from Cyclopedia 1728 / Ephraim Chambers -- 'On drawings' 1732 / Anne-Claude-Philippe de Tubières, Comte de Caylus -- 'Life of Antoine Watteau" 1748 / Anne-Claude-Philippe de Tubières, Comte de Caylus. IIb. Imagination and understanding. 'Of the association of ideas' from Essay concerning human understanding 1700 / John Locke -- from 'Moralists, a philosophical rhapsody' 1709 / Anthony Ashley Cooper, third Earl of Shaftesbury -- from 'Notion of the historical draught of the tablature of the judgement of Hercules' 1712 / Anthony Ashley Cooper, third Earl of Shaftesbury -- 'On the pleasures of the imagination' 1712 / Joseph Addison -- from Treatise on beauty 1714 / Jean-Pierre de Crousaz -- from Critical reflections on poetry and painting 1719 / Abbé Jean-Baptiste du Bos -- Preface to Inquiry into the original of our ideas of beauty and virtue 1725 / Francis Hutcheson -- 'Third dialogue' from Alciphron, or the minute philosopher 1732 / George Berkeley, Bishop of Cloyne -- 'Of the sublime' 1725 / Jonathan Richardson -- 'Beau ideal' 1732 / Lambert Hermanson ten Kate -- from Philosopher's cabinet 1734 / Pierre de Marivaux -- 'Beauty of the world' c.1750 / Jonathan Edwards. III. Judgement and the public sphere. IIIa. Classical and contemporary. -- from Treatise on ancient painting 1740 / George Turnbull -- from 'Discourse on the arts and sciences' 1750 / Jean-Jacques Rousseau -- from 'Discourse on the origins of inequality' 1755 / Jean-Jacques Rousseau -- from Observations upon the antiquities of the town of Herculaneum 1753 / Jer̓ôme-Charles Bellicard and Charles-Nicolas Chochin fils -- from Reflections on the imitation of Greek works in painting and sculputure 1755 / Johann Joachim Winckelmann -- from Inquiry into the beauties of painting 1761 / Daniel Webb -- from Antiquities of Athens 1762 / James Stuart and Nicholas Revett -- from History of ancient art 1764 / Johann Joachim Winckelmann -- 'Of the camera obscura' from Essay on painting 1764 / Francesco Algarotti -- from Laocoön: an essay on the limits of painting and poetry 1766 / Gotthold Ephraim Lessing. IIIb. Aesthetics and the sublime. from Reflections on poetry 1735 / Alexander Gottlieb Baumgarten -- 'Prolegomena' to Aesthetica 1750 / Alexander Gottlieb Baumgarten -- from Analysis of Beauty 1753 / William Hogarth -- 'Dialogue on taste' 1755 / Allan Ramsay -- 'Of the standard of taste' 1757 / David Hume -- from Philosophical inquiry into the origin of our ideas of the sublime and the beautiful 1757 / Edmund Burke -- 'Essay on taste' 1757 / Charles-Louis de Secondat, Baron de Montesquieu -- 'Essay on taste' 1757 / Voltaire (François-Marie Arouet) -- Letters to 'Idler' 1759 / Joshua Reynolds -- from Conjectures on original composition 1759 / Edward Young -- from Giphantia 1760 / Charles François Tiphaigne de la Roche -- from Aesthetica in nuce 1762 / Johann Georg Hamann -- from Reflections on beauty and taste in painting 1762 / Anton Raphael Mengs -- 'Beautiful, beauty' from Philosohical dictionary 1764 / Voltaire (François-Marie Arouet) -- 'Of taste from Essays on the intellectual powers of man 1785 / Thomas Reid. IIIc. Practice of criticism. Reflections on some causes of the present state of painting in France 1747 / Etienne La Font de Saint-Yenne -- from 'Letter on the exhibition of works of painting, sculpture, etc.' 1747 / Abbé Jean-Bernard Le Blanc -- from 'Letter on painting, sculpture and architecture' 1748 / Louis-Guillaume Baillet de Saint-Julien -- 'On composition' 1750 / Anne-Claude-Philippe de Tubières, Comte de Caylus -- from Essay on architecture 1753 / Abbé Marc-Antoine Laugier -- 'Letter to M. de Bachaumont on taste in the arts and letters' 1751 / Jean-Baptiste de La Curne de Sainte-Palaye -- 'Art' from the Encyclopédie 1751 / Denis Diderot -- 'Genius' from the Encyclopédie 1757 / Jean-François, Marquis de Saint-Lambert -- 'Observation' from the Encyclopédie 1765 / Anonymous -- from the Correspondence littéraire 1756/ Friedrich Melchior, Baron Grimm -- 'Reflexions on sculpture' 1761 / Etienne Falconet -- from the 'Salon of 1763', 1763 / Denis Diderot -- from the 'Salon of 1765' and 'Notes on painting' 1765 / Denis Diderot -- from the 'Salon of 1767', 1768 / Denis Diderot. IV. Public discourse. IVa. Consolidation and instruction. Letter to Richard Graves, 1760 / William Shenstone -- 'Of academies' c. 1760-1 / William Hogarth -- from 'Letter on Sculpture' 1765 / Frans Hemsterhuis -- 'Discourse upon the academy of fine art at Madrid' 1766 / Anton Raphael Mengs -- Correspondence 1766-7 / Benjamin West and John Singleton Copley -- on the Dealth of General Wolfe c. 1771 / Benjamin West -- from Discourses on art, III, VI and XI 1770-82 / Joshua Reynolds -- Discourse IX 1780 / Joshua Reynolds -- on exhibitions by Angelica Kauffmann 1775-86 / Various reviewers -- from Inquiry into the real and imaginary obstructions to the acquisition of the arts in England 1774 / James Barry -- from 'Disconnected thoughts on painting, sculpture and poetry' 1781 / Denis Diderot -- from Treatise on the principles and rules of painting 1781 / Jean-Etienne Liotard -- from Review of the polite arts in France / Valentine Green -- 'Address to the Royal Academy of San Fernando regarding the method of teaching the visual arts' 1792 / Francisco Goya -- from Dictionnaire des arts de peinture, sculpture et gravure 1792 / Claude-Henri Watelet and Pierre-Charles Lévesque -- Letter to the dilettanti society 1798 / James Barry. IVb. from Mémoires secrets 1783-5 / Anonymous: salon reviews -- Letter to Joseph-Marie Vien 1789 / Charles-Étienne-Gabriel Cuvillier -- review of the Salon of 1789 / Comte de Mende Maupas -- 'Artists' demand', 1789/ Students of the Académie Royale des Beaux-Arts -- Letter to Thomas Jefferson / John Trumbull -- Response to Edmund Burke 1790 / Mary Wollstonecraft -- 'On the system of teaching' from Considerations on the arts of design in France 1791 / Antoine Quatremère de Quincy -- on his picture of Le Peletier 1793 / Jacques-Louis David -- Preliminary statement to the Official catalogue of the salon 1793 / Gazat, Minister of the Interior/Anonymous-- 'Jury of art' 1793 / Jacques-Louis David -- Proposal for a monument to the French people 1793 / Jacques-Louis David -- Project for the apotheoses of Barra and Viala 1794 / Jacques-Louis David -- Foreword to the Historical and chronological description of the monuments of sculpture 1795/7 / Alexandre Lenoir. V. Nature and human nature. Va. Human as subject. Letters 1758-73 / Thomas Gainsborough -- on Thomas Gainsborough 1788 / Joshua Reynolds -- 'Of the effects of genius' 1770 / William Duff -- 'On German architecture' 1772 / Johann Wolfgang Goethe -- on London, from letter to Baldinger 1775 / Georg Christoph Lichtenberg -- from Essays on physiognomy 1775-8 / Johann Kaspar Lavater -- from Sculpture: some observations on form and shape from Pygmalion's creative dream 1778 / Johann Gottfried Herder -- 'What is enlightenment?' 1784 / Immanuel Kant -- from 'on the creative imitation of beauty' 1788 / Karl Philipp Moritz -- from Critique of Judgement 1790 / Immanuel Kant -- from Essays on the nature and principles of taste 1790 / Archibald Alison -- from Letters on the aesthetic education of man 1795-6 / Friedrich Schiller -- from 'On naive and sentimental poetry' 1795-6 / Friedrich Schiller -- Letter to Karl Friedrich von Heinitz 1796 / Asmus Jakob Carstens -- 'Earliest system-programme of German idealism' c. 1796 / Georg Wilhelm Friedrich Hegel. Vb. Landscape and the picturesque. 'Unconnected thoughts on gardening' 1764 / William Shenstone -- 'Principles of painting' from Essay upon prints 1768 / William Gilpin-- 'Letter on landscape painting' 1770 / Salomon Gessner -- Exchange of letters on landscape painting 1784 / Salomon Gessner and Konrad Gessner -- from Observations on the River Wye 1782 / William Gilpin -- 'Landscape (arts of design)' from General theory of the fine arts 1771-4 / Johann Georg Sulzer -- Review of Fine arts in their origin, their true nature and best application, by J. G. Sulzer 1772 / Johann Wolfgang Goethe -- 'Nature' 1782-3 / Georg Christof Tobler -- 'New method of assisting the invention in drawing original compositions of landscape' 1785 / Alexander Cozens -- 'On landscape painting' 1790 / Johann Kaspar Lavater -- from "On picturesque beauty and 'On picturesque travel' 1792 / William Gilpin -- 'On landscapes and sea pieces' from Charis, or on beauty and the beautiful in the imitative arts 1793 / Friedrich Ramdohr -- from 'Essay on the picturesque' 1794 / Uvedale Price -- from Landscape: a didactic poem 1795 / Richard Payne Knight -- from 'Dialogue on the distinct characters of the picturesque and the beautiful' 1801 / Uvedale Price -- Notebook and diary entries, c. 1790-1797 / Katherine Plymley -- 'Letter on landscape painting' 1795 / François- René, Comte de Chateaubriand -- "On poetry, and our relish for the beauties of nature' 1797 / Mary Wollstonecraft -- from Northanger abbey c. 1799-1803/ Jane Austen. VI. Romanticism. VIa. Romantic Aesthetics. from 'Critical fragments' 1797 / Friedrich Schlegel -- from 'Athenaeum fragments' 1798 / Friedrich Schlegel -- 'Fugitive thoughts' 1798-1801 / Novalis (Friedrich von Hardenberg) -- from Aphorisms on art 1802 / Joseph Görres -- 'Advertisement' from Lyrical ballads 1798 / William Wordsworth -- from Preface to Lyrical ballads 1800 / William Wordsworth -- from Description of paintings in Paris and the Netherlands in the years 1802-04 1805 / Friedrich Schlegel -- from 'Concerning the relation of the plastic arts to nature' 1807 -- Friedrich Schelling -- 'Spirit of true criticism' from Course of lectures on dramatic art and literature 1808 / August Wilhelm Schlegel -- from 'Aphorisms on art' 1788-1818 / Henry Fuseli -- 'On the principles of genial criticism' 1814 / Samuel Taylor Coleridge -- from Philosophical view of reform 1819-20 / Percy Bysshe Shelley. VIb. Painting and fiction. from Confessions from the heart of an art-loving friar 1796 / Wilhelm Wackenroder -- from Franz Sternbald's wanderings 1798 / Ludwig Tieck -- on the Caprichos 1799 / Francisco de Goya -- Blue flower from Henry of Ofterdingen 1799-1801 / Novalis (Friedrich von Hardenberg) -- Letters 1802 / Philipp Otto Runge -- from Corinne 1807 --/ Madame de Staël -- Letters 1799-1805 / William Blake -- Marginal notes to Reynolds' Discourses 1801-9 / William Blake -- from Descriptive catalogue 1809 / William Blake -- Introduction to Grave 1808 / Henry Fuseli -- from Views on the dark side of natural science 1808 / Gotthilf Heinrich Schubert -- 'Remarks upon a landscape painting intended as an altar piece by Herr Friedrich' 1809 / Friedrich Ramdohr -- on Cross in the mountains, letter to Schulze 1809 / Caspar David Friedrich -- 'Various emotions before a seascape by Friedrich' 1810 / Clemens Brentano -- 'Emotions before Friedrich's seascape' 1810 / Heinrich Kleist -- 'Letter from a young poet to a young painter' 1810 / Heinrich Kleist -- 'Beethoven's instrumental music' 1813 / E. T. A. Hoffmann -- Letter to Arndt 1814 / Caspar David Friedrich. VII. Observation and tradition. VIIa. Objects of study. Introduction to the Propylaën 1798 / Johann Wolfgang Goethe -- from Reflections on the present condition of the female sex 1798 / Priscilla Wakefield -- from 'Advice to a student on painting, and particularly on landscape' 1800 / Pierre-Henri de Valenciennes -- Letters to Dunthorne 1799-1814 / John Constable -- 'Account of a method of copying paintings upon glass, and of making profiles' 1802 / Thomas Wedgwood and Humphry Davy -- 'On landscape painting' 1803 / Karl Ludwig Fernow -- from Essays on the anatomy of expression in painting 1806 / Charles Bell -- Letter to Goethe 1806 / Philipp Otto Runge -- from Theory of colours 1810 / Johann Wolfgang Goethe -- 'Backgrounds, introduction of architecture and landscape' 1811 / Joseph Mallord William Turner -- from Treatise on landscape painting and effect in water colours 1813-14 / David Cox -- Preface to Etchings of rustic figures 1815 / William Henry Pyne -- from Daylight: a recent discovery in the art of painting / Henry Richter -- Advice on the painting of portraits c. 1820-30 / Elisabeth Vigée-Lebrun. VIIb. Continuity of symbols. 'Discourse to the students of the Royal Academy' 1792 / Benjamin West -- 'Painting of the Sabines' 1799 / Jacques-Louis David -- 'Discourse addressed to Vien' 1800 / Pupils of David -- 'Of the subjects of pictures' from Genius of Christianity 1802 / François-René, Comte de Chateaubriand -- Letter to Passavant 1808 / Franz Pforr -- 'Three ways of art' 1810 / Friedrich Overbeck -- Letter to Joseph Görres 1814 / Peter Cornelius -- from Description of Egypt 1809-20 / Edmé François Jomard and others -- 'Style' after 1810 / John Flaxman -- from Symbolism and mythology of the ancient peoples, particularly the Greeks 1810 / Georg Friedrich Creuzer -- Debate on the Elgin marbles 1808-1816. (i). Letter to the Monthly magazine 1808 / George Cumberland -- (ii). Letter to the Earl of Elgin 1809 / Benjamin West -- (iii). Letters to Quatremère de Quincy and the Earl of Elgin 1815 / Antonio Canova -- (iv). from Report of the parliamentary select committee on the Earl of Elgin's collection of marbles 1816 -- (v). from Judgement of connoisseurs upon works of art 1816 / Benjamin Robert Haydon -- (vi). 'Fine arts' from Supplement to the Encyclopedia Britannica 1816 / William Hazlitt -- from Notebooks and letters c. 1813-21 / Jean-Auguste-Dominique Ingres -- from Inquiry into the symbolical language of ancient art and mythology 1818 / Richard Payne Knight.

Art in theory, 1815-1900: an anthology of changing ideas

xx, 1097 pages ; 23 cm Inhoud: I. Feeling and nature -- Originality and genius -- Responses to nature -- II. The demands of the present -- Utility and revolution -- Art and nature moralized -- Systems and techniques --Independence and individuality -- III. Modernity and bourgeois life -- Modern conditions -- Realism and naturalism -- Morals and standards -- The conditions of art -- IV. Temperaments and techniques -- Effects and impressions -- Science and method -- Photography as an art -- V. Aesthetics and historical awareness -- Empathy and the problem of form -- Cultural criticism -- The independence of art -- VI. The idea of a modern art -- Modernist themes: Paris and beyond -- Painting: expression and colour -- Symbolism.

Art in Theory 1900-1990: An Anthology of Changing Ideas

Art in Theory 1900-1990: An Anthology of Changing Ideas is an art theory anthology in the art in theory series edited by Charles Harrison and Paul Wood, first published in 1992. Product description

Since it was first published in 1992, this book has become one of the leading anthologies of art theoretical texts in the English-speaking world. This expanded edition includes the fruits of recent research, involving a considerable amount of newly translated material from the entire period, together with additional texts from the last decades of the twentieth century. The features that made the first edition so successful have been retained: The volume provides comprehensive representation of the theories, which underpinned developments in the visual arts during the twentieth century. As well as writings by artists, the anthology includes texts by critics, philosophers, politicians and literary figures. The content is clearly structured into eight broadly chronological sections, starting with the legacy of symbolism and concluding with contemporary debates about the postmodern. The editors provide individual introductions to each of the 340 anthologized texts. Material new to this expanded edition includes texts on African art, on the Bauhaus and on the re-emergent avant-gardes of the period after the Second World War. Post-modernist debates are amplified by texts on gender, on installation and performance art, and on the increasing globalization of culture.

See also

• Critical Terms for Art History