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Modern art & the remaking of human disposition
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  • KONST - Ib.4
Main Entry - Personal Name
Title Statement
  • Modern art & the remaking of human disposition
Varying Form of Title
  • Modern art and the remaking of human disposition
Publication, Distribution, etc. (Imprint)
  • The University of Chicago Press, Chicago : 2021
  • 2021
  • Språk: Engelska.
Dewey Decimal Classification Number
SAB Classification Code
Physical Description
  • 340 pages illustrations 26 cm
Bibliography, etc. Note
  • Includes bibliographical references and index.
Formatted Contents Note
  • 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
Summary, etc
  • "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 modernism. 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 modern 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 modern world and to overturn the superior, cerebral, moral status of the human subject"-- Provided by publisher.
Subject - Personal Name
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ISBN
  • 9780226745046
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*264 1$aChicago :$bThe University of Chicago Press,$c2021
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*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  $a"Human Dispositions explores new conventions for posing and positioning human figures in pictorial, architectural, and theatrical space in Europe in the decades leading up to WWI. The author contends that questions of "disposition" are vital to understanding a key transitional period in the history of Western modernism. Around 1885, avant-garde artists began to present human figures in strictly frontal, lateral, and dorsal postures. The effect, compared with standard, classical representations of the human figure, was both archaic and advanced, in keeping with contemporary theories of evolution and human psychology. These new ways of posing figures was how modern artists challenged long, deeply held assumptions about human consciousness and the human being's privileged status in the world. Featured are three major works: the painting Poseuses (1886-1888) by the French Neo-Impressionist artist Georges Seurat; the Beethovenfries mural (1902) by the Austrian Secessionist painter Gustav Klimt; and the ballet L'Après-midi d'un faune (1912) by the Russian dancer and Ballets Russes choreographer Vaslav Nijinsky. Each work created an uproar when first presented. They were meant to be manifestos for the new values of a modern world and to overturn the superior, cerebral, moral status of the human subject"--$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$aAfternoon of a faun (Choreographic work : Nijinsky)
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*650 7$aModern konst$0https://id.kb.se/term/sao/Modern%20konst$2sao
*650 0$aHuman figure in art.
*650 0$aArt, Modern.
*650 0$aArt, Modern
*650 0$aHuman figure in art
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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.

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Ex1Available Konstfacks bibliotek KONST - Ib.4