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Archaism, modernism, and the art of Paul Manship

作者: Susan Rather
出版商: Austin : University of Texas Press, 1993.
叢書: American studies series.
版本/格式:   圖書 : 州政府或者省政府刊物 : 英語 : 1st ed所有版本和格式的總覽
資料庫:WorldCat
提要:
Archaism, an international artistic phenomenon from early in the twentieth century through the 1930s, receives its first sustained analysis in this book. The distinctive formal and technical conventions of archaic art, especially Greek art, particularly affected sculptors - some frankly modernist, others staunchly conservative, and a few who, like American Paul Manship, negotiated the distance between tradition and  再讀一些...
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詳細書目

類型/形式: Criticism, interpretation, etc
其他的實體格式: Online version:
Rather, Susan.
Archaism, modernism, and the art of Paul Manship.
Austin : University of Texas Press, 1993
(OCoLC)707181103
提及的人: Paul Manship; Paul Manship; Paul Manship; Paul Manship; Paul Manship
資料類型: 政府刊物, 州政府或者省政府刊物
文件類型: 圖書
所有的作者/貢獻者: Susan Rather
ISBN: 0292760353 9780292760356
OCLC系統控制編碼: 25711168
描述: xiv, 268 p. : ill. ; 24 cm.
内容: 1. The American Academy in Rome and the Formation of Manship's Archaism --
2. The Archaeological Background --
3. Archaism as Modernism: Content and Technique --
4. Centaur and Dryad: Manship's Art in Context --
5. Archaism from Other Places and in Other Modes --
6. Archaism during the 1920s and 1930s: Decorative and Monumental --
7. Archaism and the Critics: Disenchantment --
Appendix: "The Decorative Value of Greek Sculpture"
叢書名: American studies series.
責任: by Susan Rather.

摘要:

Archaism, an international artistic phenomenon from early in the twentieth century through the 1930s, receives its first sustained analysis in this book. The distinctive formal and technical conventions of archaic art, especially Greek art, particularly affected sculptors - some frankly modernist, others staunchly conservative, and a few who, like American Paul Manship, negotiated the distance between tradition and modernity. Professor Susan Rather considers the theory, practice, and criticism of early twentieth-century sculpture in order to reveal the changing meaning and significance of the archaic in the modern world. To this end - and against the background of Manship's career - she explores such topics as the archaeological resources for archaism, the classification of the non-Western art of India as archaic, the interest of sculptors in modern dance (Isadora Duncan and Ruth St. Denis), and the changing critical perception of archaism. Rather rejects the prevailing conception of archaism as a sterile and superficial academic style to argue its initial importance as a modernist mode of expression. The early practitioners of archaism - including Aristide Maillol, Andre Derain, and Constantin Brancusi - renounced the rhetorical excess, overrefined naturalism, and indirect techniques of late nineteenth-century sculpture in favor of nonnarrative, stylized and directly carved works, for which archaic Greek art offered an important example. Their position found implicit support in the contemporaneous theoretical writings of Emmanuel Lowy, Wilhelm Worringer, and Adolf von Hildebrand. The perceived relationship between archaic art and tradition ultimately compromised the modernist authority of archaism and made possible its absorption by academic and reactionary forces during the 1910s. By the 1920s, Paul Manship was identified with archaism, which had become an important element in the aesthetic of public sculpture of both democratic and totalitarian societies. Sculptors often employed archaizing stylizations as ends in themselves and with the intent of evoking the foundations of a classical art diminished in potency by its ubiquity and obsolescence. Such stylistic archaism was not an empty formal exercise but an urgent affirmation of traditional values under siege. Concurrently, archaism entered the mainstream of fashionable modernity as an ingredient in the popular and commercial style known as Art Deco. Both developments fueled the condemnation of archaism - and of Manship, its most visible exemplar - by the avant-garde. Rather's exploration of the critical debate over archaism, finally, illuminates the uncertain relationship to modernism on the part of many critics and highlights the problematic positions of sculpture in the modernist discourse. The first book-length study of archaism and the first critical study of Paul Manship, this work will be important reading in several fields, including American studies and twentieth-century art history. Numerous black-and-white illustrations complement the text.

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