What do we mean when we call a work of art 'beautiful'? How do perceptions of beauty change with the passage of time? In Beauty and Art, Elizabeth Prettejohn explores these crucial questions, showing the vital relationship between our changing notions of beauty and aesthetics, and the creation of art. In this new edition to the Oxford History of Art series, she charts the story of western art, from eighteenth-century Germany to the late 20th century, from Kauffman to Whistler, Ingres to Rossetti, Cézanne to Jackson Pollock.
Frameworks -- Beauty -- Art -- Music -- Dance -- Architecture.
The darling of designers, painters, and poets, the peacock, shimmering sapphire blue and emerald green, struts in paintings, sculptures, drawings, and photographs and takes place of honor in homes and churches, in museums and public spaces, ...
Convincing lies: reckoning with the modern Teresa A. Carbone -- Body language: liberation and restraint in Twenties figuration Teresa A. Carbone -- Silent pictures: encounters with a remade world Teresa A. Carbone -- Contesting modernity at ...
While Paul Calle and Robert McCall weren't necessarily the most famous artists to participate in the NASA Art Program, their work helped attract the attention of new audiences to space- related images. Their work, and most of the art ...
Aesthetic Order challenges contemporary theories of aesthetics, offering the idea of beauty as quantitative yet different from the traditional discursive order. It will be of importance to all interested in aesthetic theory.
Kertess examines Moore's recurrent themes and eclectic influences while situating the artist's work within a larger art historical context.
In this authoritative, lively book, the celebrated Italian novelist and philosopher Umberto Eco presents a learned summary of medieval aesthetic ideas.
Graphic but mystical, vibrant yet enigmatic, the work of American artist Eyvind Earle is a treasure trove of subtle and shimmering contradictions.
"This new book by Veranda is a must for anyone's library who is passionate about design.
My first example, which relates directly to literature but has wider implications, is taken from aRambler essay of Samuel Johnson, athinker whose aesthetic convictions are inpart a kindof Platonism without the metaphysics.