Hylla
Personnamn
Titel och upphov Mode rn art & the remaking of human disposition
Varianttitel Mode rn art and the remaking of human disposition
Utgivning, distribution etc. The University of Chicago Press, Chicago : 2021
Utgivningsår
DDC klassifikationskod (Dewey Decimal Classification)
SAB klassifikationskod
Fysisk beskrivning 340 pages illustrations 26 cm
Anmärkning: Bibliografi etc. Includes bibliographical references and index.
Anmärkning: Innehåll Figures of Thought: Poseuses and the Controversy of the Grande Jatte -- Beethoven's Farewell: The Creative Genius "in the Claws of the Secession" -- The Mise-en-scène of Dreams: L'Après-midi d'un faune
Anmärkning: Innehållsbeskrivning, sammanfattning "Human Dispositions explores new conventions for posing and positioning human figures in pictorial, architectural, and theatrical space in Europe in the decades leading up to WWI. The author contends that questions of "disposition" are vital to understanding a key transitional period in the history of Western mode rnism. Around 1885, avant-garde artists began to present human figures in strictly frontal, lateral, and dorsal postures. The effect, compared with standard, classical representations of the human figure, was both archaic and advanced, in keeping with contemporary theories of evolution and human psychology. These new ways of posing figures was how mode rn artists challenged long, deeply held assumptions about human consciousness and the human being's privileged status in the world. Featured are three major works: the painting Poseuses (1886-1888) by the French Neo-Impressionist artist Georges Seurat; the Beethovenfries mural (1902) by the Austrian Secessionist painter Gustav Klimt; and the ballet L'Après-midi d'un faune (1912) by the Russian dancer and Ballets Russes choreographer Vaslav Nijinsky. Each work created an uproar when first presented. They were meant to be manifestos for the new values of a mode rn world and to overturn the superior, cerebral, moral status of the human subject"-- Provided by publisher.
Personnamn Seurat, Georges, Klimt, Gustav, Seurat, Georges, Klimt, Gustav, Nijinsky, Waslaw,
Term
ISBN
Antal i kö:
*000 cam a 7i 4500
*00153633
*00520220608155227.0
*008220608s2021 ilua||||||||||001 0|eng|d
*020 $a9780226745046$qcloth
*020 $z9780226745183 (ebook)
*035 $a(SE-LIBR)0fkq8fcfxwk14lpg
*041 $aeng
*050 0$aN7570
*08200$a704.9/42$223
*084 $aIbvz$2kssb/8 (machine generated)
*1001 $aButterfield-Rosen, Emmelyn$4aut
*24510$aMode rn art & the remaking of human disposition /$cEmmelyn Butterfield-Rosen.
*2461 $aMode rn art and the remaking of human disposition
*264 1$aChicago :$bThe University of Chicago Press,$c2021
*300 $a340 pages$billustrations$c26 cm
*336 $atext$btxt$2rdacontent
*337 $aunmediated$bn$2rdamedia
*338 $avolume$bnc$2rdacarrier
*504 $aIncludes bibliographical references and index.
*5058 $aFigures of Thought: Poseuses and the Controversy of the Grande Jatte -- Beethoven's Farewell: The Creative Genius "in the Claws of the Secession" -- The Mise-en-scène of Dreams: L'Après-midi d'un faune
*520 $a"Human Dispositions explores new conventions for posing and positioning human figures in pictorial, architectural, and theatrical space in Europe in the decades leading up to WWI. The author contends that questions of "disposition" are vital to understanding a key transitional period in the history of Western mode rnism. Around 1885, avant-garde artists began to present human figures in strictly frontal, lateral, and dorsal postures. The effect, compared with standard, classical representations of the human figure, was both archaic and advanced, in keeping with contemporary theories of evolution and human psychology. These new ways of posing figures was how mode rn artists challenged long, deeply held assumptions about human consciousness and the human being's privileged status in the world. Featured are three major works: the painting Poseuses (1886-1888) by the French Neo-Impressionist artist Georges Seurat; the Beethovenfries mural (1902) by the Austrian Secessionist painter Gustav Klimt; and the ballet L'Après-midi d'un faune (1912) by the Russian dancer and Ballets Russes choreographer Vaslav Nijinsky. Each work created an uproar when first presented. They were meant to be manifestos for the new values of a mode rn world and to overturn the superior, cerebral, moral status of the human subject"--$cProvided by publisher.
*60010$aSeurat, Georges,$d1859-1891.$tSunday afternoon on the island of la Grande Jatte.
*60010$aKlimt, Gustav,$d1862-1918.$tBeethoven frieze.
*60014$aSeurat, Georges,$d1859-1891
*60014$aKlimt, Gustav,$d1862-1918
*60014$aNijinsky, Waslaw,$d1890-1950
*63000$aAfternoon of a faun (Choreographic work : Nijinsky)
*650 7$aMänniskokroppen i konsten $0https://id.kb.se/term/sao/M%C3%A4nniskokroppen%20i%20konsten $2sao
*650 7$aMode rn konst$0https://id.kb.se/term/sao/Mode rn%20konst$2sao
*650 0$aHuman figure in art.
*650 0$aArt, Mode rn.
*650 0$aArt, Mode rn
*650 0$aHuman figure in art
*852 $5Ko$bKo$cKONST -$hIb.4
*887 $a{"@id":"0fkq8fcfxwk14lpg","modified":"2022-06-08T15:52:27.963+02:00"}$2librisxl
*887 $5Ko$a{"@id":"4lm3v2g5211fhjmb","modified":"2023-01-24T11:39:10.907+01:00"}$2librisxl
^
Det finns inga omdömen till denna titeln.
Klicka här
för att vara den första som skriver ett omdöme.
How artists at the turn of the twentieth century broke with traditional ways of posing the bodies of human figures to reflect modern understandings of human consciousness. With this book, Emmelyn Butterfield-Rosen brings a new formal and conceptual rubric to the study of turn-of-the-century modernism, transforming our understanding of the era's canonical works. Butterfield-Rosen analyzes a hitherto unexamined formal phenomenon in European art: how artists departed from conventions for posing the human figure that had long been standard. In the decades around 1900, artists working in different countries and across different media began to present human figures in strictly frontal, lateral, and dorsal postures. The effect, both archaic and modern, broke with the centuries-old tradition of rendering bodies in torsion, with poses designed to simulate the human being's physical volume and capacity for autonomous thought and movement. This formal departure destabilized prevailing visual codes for signifying the existence of the inner life of the human subject. Exploring major works by Georges Seurat, Gustav Klimt, and the dancer and choreographer Vaslav Nijinsky-- replete with new archival discoveries-- Modern Art and the Remaking of Human Disposition combines intensive formal analysis with inquiries into the history of psychology and evolutionary biology. In doing so, it shows how modern understandings of human consciousness and the relation of mind to body were materialized in art through a new vocabulary of postures and poses.