This book shows how painting since the mid-1800s has reflected Western society's mixed feelings about the transformations in our world produced by science and technology. Neither a chronicle of the development of modern art nor a history of the modern era, it instead discusses how artists have represented feelings and ideas about the technological changes of modern times. Some artists approach this task with an outward focus, representing the world they perceive. Others focus inward, choosing to represent their personal reactions to that world. The author examines both approaches to show how…mehr
This book shows how painting since the mid-1800s has reflected Western society's mixed feelings about the transformations in our world produced by science and technology. Neither a chronicle of the development of modern art nor a history of the modern era, it instead discusses how artists have represented feelings and ideas about the technological changes of modern times. Some artists approach this task with an outward focus, representing the world they perceive. Others focus inward, choosing to represent their personal reactions to that world. The author examines both approaches to show how major art movements of the last two centuries are related to the largest-ever changes in human knowledge. An analysis of 28 works reveals perceptions of technological change as both blessing and curse. The result of this analysis is a fresh view of the major artworks of the past century and a half, along with intriguing insights into our own attitudes towards our world.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Retired engineer William H. Libaw lives in Beverly Hills, California.
Inhaltsangabe
Table of Contents Acknowledgments List of Illustrations Foreword: Art and Science in the Fullness of Life, by Michael Shermer Introduction PART I. A MIRROR WITH A PAST 1. Soul or Machine? 2. What Is Art About? 3. How Science Changed the Subject PART II. SCIENTISM BEGINS: THE FIRST HALF OF THE NINETEENTH CENTURY 4. The Handwriting on the Gallery Wall: Classical vs. Romantic 5. The Line Is Drawn: Ingres vs Delacroix PART III. THE CHANGES BEGIN: THE SECOND HALF OF THE NINETEENTH CENTURY
6. The Subject Beneath the Surface 7. A New Realism: Edouard Manet 8. Mad Haste with Impressionism: Monet and Renoir 9. The Fragile Moment: Berthe Morisot 10. Women Have Real Lives of Their Own: Edgar Degas 11. Body and Soul Unreconciled: Vincent van Gogh 12. Spirit and Matter in Tahiti: Paul Gauguin 13. An Unearthly Remoteness: Paul Cézanne PART IV. SCIENCE REPELS AND ATTRACTS: THE EARLY TWENTIETH CENTURY 14. The New Subject Meets the New Object 15. Decorating the Inner World: Henri Matisse 16. Cubism and the Illusive Body: Pablo Picasso 17. "But Is It Art?": Marcel Duchamp PART V. LOOKING OUTSIDE AND WITHIN: EARLY MID-CENTURY 18. Turning Away from a Darkening World 19. Alone in the Crowd: Edward Hopper 20. When Flesh Trumps Spirit: Francis Bacon 21. Embodiment Without Bodies: Mark Rothko 22. The Subjective Stone Age: Willem de Kooning 23. The Resemblance to Meaning: Lee Krasner 24. The Meaning of Meaningless: Jackson Pollock PART VI. OBJECTS IN THE MIRROR ARE SEEN AS SHALLOW: LATE MID-CENTURY 25. How Real Can It Get? 26. An Art of Artifacts: Jasper Johns 27. Art as Science Reporting: Robert Rauschenberg 28. Art That Is Deeper Than Paper: Roy Lichtenstein 29. The Emptier the Better: Andy Warhol PART VII. CRACKED BUT NOT BROKEN: AT THE END OF THE CENTURY 30. New Faces, Old Spectrum 31. "Privately Maintained Realities": Julian Schnabel 32. "But Is It Art" Revisited: Damien Hirst 33. Striding on Two Levels: Gerhard Richter 34. Spirits in the Material World: Anselm Kiefer 35. The Art of Storytelling: Eric Fischl 36. Transmuting Commodities into Art: Jeff Koons 37. Postmodern Pictures of Women: David Salle Conclusions: Images of Our Anxieties Chapter Notes Bibliography Index
Table of Contents Acknowledgments List of Illustrations Foreword: Art and Science in the Fullness of Life, by Michael Shermer Introduction PART I. A MIRROR WITH A PAST 1. Soul or Machine? 2. What Is Art About? 3. How Science Changed the Subject PART II. SCIENTISM BEGINS: THE FIRST HALF OF THE NINETEENTH CENTURY 4. The Handwriting on the Gallery Wall: Classical vs. Romantic 5. The Line Is Drawn: Ingres vs Delacroix PART III. THE CHANGES BEGIN: THE SECOND HALF OF THE NINETEENTH CENTURY
6. The Subject Beneath the Surface 7. A New Realism: Edouard Manet 8. Mad Haste with Impressionism: Monet and Renoir 9. The Fragile Moment: Berthe Morisot 10. Women Have Real Lives of Their Own: Edgar Degas 11. Body and Soul Unreconciled: Vincent van Gogh 12. Spirit and Matter in Tahiti: Paul Gauguin 13. An Unearthly Remoteness: Paul Cézanne PART IV. SCIENCE REPELS AND ATTRACTS: THE EARLY TWENTIETH CENTURY 14. The New Subject Meets the New Object 15. Decorating the Inner World: Henri Matisse 16. Cubism and the Illusive Body: Pablo Picasso 17. "But Is It Art?": Marcel Duchamp PART V. LOOKING OUTSIDE AND WITHIN: EARLY MID-CENTURY 18. Turning Away from a Darkening World 19. Alone in the Crowd: Edward Hopper 20. When Flesh Trumps Spirit: Francis Bacon 21. Embodiment Without Bodies: Mark Rothko 22. The Subjective Stone Age: Willem de Kooning 23. The Resemblance to Meaning: Lee Krasner 24. The Meaning of Meaningless: Jackson Pollock PART VI. OBJECTS IN THE MIRROR ARE SEEN AS SHALLOW: LATE MID-CENTURY 25. How Real Can It Get? 26. An Art of Artifacts: Jasper Johns 27. Art as Science Reporting: Robert Rauschenberg 28. Art That Is Deeper Than Paper: Roy Lichtenstein 29. The Emptier the Better: Andy Warhol PART VII. CRACKED BUT NOT BROKEN: AT THE END OF THE CENTURY 30. New Faces, Old Spectrum 31. "Privately Maintained Realities": Julian Schnabel 32. "But Is It Art" Revisited: Damien Hirst 33. Striding on Two Levels: Gerhard Richter 34. Spirits in the Material World: Anselm Kiefer 35. The Art of Storytelling: Eric Fischl 36. Transmuting Commodities into Art: Jeff Koons 37. Postmodern Pictures of Women: David Salle Conclusions: Images of Our Anxieties Chapter Notes Bibliography Index
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