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The body in pieces : the fragment as a metaphor of modernity

作者: Linda Nochlin
出版商: New York, N.Y. : Thames and Hudson, 1995.
叢書: Walter Neurath memorial lectures, 26th.
版本/格式:   Print book : 英語所有版本和格式的總覽
資料庫:WorldCat
提要:
By the end of the eighteenth century a sense of anxiety and crisis began to preoccupy European writers and artists in their relationship to the heroic past, from antiquity on. The grandness of that intellectual tradition could no longer fit into the framework of the present, and artists felt overwhelmed by the magnitude of past heroic accomplishment. Beginning with artists such as Fuseli, this was soon reflected in  再讀一些...
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詳細書目

類型/形式: Art and the revolution
文件類型: 圖書
所有的作者/貢獻者: Linda Nochlin
ISBN: 0500550271 9780500550274
OCLC系統控制編碼: 32223641
描述: 64 p. : ill. ; 22 cm.
叢書名: Walter Neurath memorial lectures, 26th.
責任: Linda Nochlin.

摘要:

By the end of the eighteenth century a sense of anxiety and crisis began to preoccupy European writers and artists in their relationship to the heroic past, from antiquity on. The grandness of that intellectual tradition could no longer fit into the framework of the present, and artists felt overwhelmed by the magnitude of past heroic accomplishment. Beginning with artists such as Fuseli, this was soon reflected in artistic representation. The partial image, the "crop," fragmentation, ruin and mutilation - all expressed nostalgia and grief for the loss of a vanished totality, a utopian wholeness. Often, such feelings were expressed in deliberate destructiveness and this became the new way of seeing: the notion of the modern. The "crop" constituted a distinctively modern view of the world, the essence of modernity itself. The French Revolution was not only an historical event that instituted and canonized deliberate fragmentation, but also in some cases the reverse: Jacques-Louis David and other Neo-classical artists tried, at least allegorically and metaphorically, to repair the broken link with the perceived wholeness of the past. In The Body in Pieces, Linda Nochlin traces these developments as they have been expressed in representations of the human figure - fragmented, mutilated and fetishistic - by looking at work produced by artists from Neo-classicism and Romanticism to the Impressionists, the Post-Impressionists, the Surrealists and beyond.

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