In this lucid and insightful essay, renowned linguist Roy Harris reflects on the early nineteenth-century doctrine of “art for art’s sake.” This was attacked by Proudhon and Nietzsche, but defended by Théophile Gautier and E. M. Forster. It influenced movements as diverse as futurism and Dada. Over the past two centuries, three main positions have emerged. The “institutional” view declares art to be a status conferred upon certain works by the approval of influential institutions. The “idiocentric” view gives absolute priority to the judgment of the individual. The third is the “conceptual” view of art, which insists that what counts is the idea that inspired a work, not the physical execution. But as Harris shows, the tacit assumptions which once supported this Debate and these positions have now collapsed. “Art” as a coherent category has imploded, leaving behind a historical residue of empty questions that contemporary society can no longer answer. The Great Debate about Art provides much needed signposts for understanding this sorry state of affairs.
Technology and the Visual Arts in the Nineteenth Century
What Great Paintings Say: Masterpieces in Detail
Ciampelli was, like Pomarancio and Giuseppe Valeriano, regularly employed by the Jesuits; see Hibbard in Wittkower and Jaffe 1972, 40-41. 6. Bellori (1672) 1976, 217. 7. See Urbino 1953, 35-36. in 1607 (cat. 77).
Per tale motivo , nel 1908 in America la Germantown sullo schermo , e mettendosi a cantare sul filo dell'accompagna- Citizens ' Association mise al bando questi copricapi da " vedova mento musicale . Un simile coinvolgimento era ...
In the 1940s the Mandragora group around Braulio Arenas and Enrique Gomez Correa emerged in Santiago de Chile , distinguishing Surrealism from the Stalinism of the poet Pablo Neruda . In Buenos Aires the flavour of the movement was ...
Catalog of a traveling exhibition first held at the Museum of Fine Arts, Houston, Apr. 2-Aug. 28, 1995.
The art of Betye and Alison Saar: secrets, dialogues, revelations : Wight art gallery, University of California Los Angeles, [January...
According to A. Sutherland Harris , this painting bore an attribution to Jan Asselijn ' until it was recognised as a work of Du Jardin by Otto Naumann in 1984 ( privately ) . This was confirmed by R. Trnek and accepted by both A. C. ...
David Smith: Drawing + Sculpting : [exhibition], Nasher Sculpture Center, Dallas, April 16 - July 17, 2005
Abstrakter Expressionismus (Abstract Expressionism, Dt.). Der Triumph Der Amerikanischen Malerei