In this volume, the third in his classic series on art theory, Moshe Barasch traces the hidden patterns and interlocking themes in the study of art, from impressionism to abstract art. Barasch details the immense social changes in the creation, presentation, and reception of art which have set the history of art theory on a vertiginous new course: the decreased relevance of workshops and art schools; the replacement of the treatise by the critical review; and the emerging interrelationship (...) between scientific inquiry and artistic theory. The consequent changes in the ways in which critics as well as artists conceptualized paintings and sculptures were radical, marked by an obsession with intense sensory experiences, psychological reflection on the effects of art, and an attraction to the exotic and alien--making for the most exciting and fertile period in the history of art criticism. (shrink)

Annotation. In this volume, the third in his classic series of texts surveying the history of art theory, Moshe Barasch traces the hidden patterns and interlocking themes in the study of art, from Impressionism to Abstract Art. Barasch details the immense social changes in the creation, presentation, and reception of art which have set the history of art theory on a vertiginous new course: the decreased relevance of workshops and art schools; the replacement of the treatise by the (...) critical review; and the interrelation of new modes of scientific inquiry with artistic theory and praxis. The consequent changes in the ways in which critics as well as artists conceptualized paintings and sculptures were radical, marked by an obsession with intense, immediate sensory experiences, psychological reflection on the effects of art, and a magnetic pull to the exotic and alien, making for the most exciting and fertile period in the history of art criticism. (shrink)

In this volume, the third in his classic series of texts surveying the history of art theory, Moshe Barasch traces the hidden patterns and interlocking themes in the study of art, from Impressionism to Abstract Art. Barasch details the immense social changes in the creation, presentation, and reception of art which have set the history of art theory on a vertiginous new course: the decreased relevance of workshops and art schools; the replacement of the treatise by the critical (...) review; and the interrelation of new modes of scientific inquiry with artistic theory and praxis. The consequent changes in the ways in which critics as well as artists conceptualized paintings and sculptures were radical, marked by an obsession with intense, immediate sensory experiences, psychological reflection on the effects of art, and a magnetic pull to the exotic and alien, making for the most exciting and fertile period in the history of art criticism. (shrink)

The argument moves from the art and civilization of ancient Egypt to that of modern Europe and effortlessly reveals a full and surprising range of language in art - from the magical to the impious, from the ambiguous to the didactic, scientific, and propagandistic.

The volume before us is the fourth in the series of proceedings of what used to be the Israel Colloquium for the History, Philosophy and Sociology of Science. This Colloquium has in the meantime been renamed. It now bears the name of Yehoshua Bar-Hillel (1915-1975). Bar-Hillel was an eminent philosopher of science, language, and cognition, as well as a fearless fighter for enlightenment and a passionate teacher who had a durable influence on Israeli philosophical life. The essays collected in this (...) volume have of course this much in common, that they are all in, of, and pertaining to science. They also share the property of having all been delivered before live, and often lively, audiences in Jerusalem and in Tel Aviv, in the years 1984-1986. As is customary in the volumes of this series, the essays and commentaries presented here are intended to strike a rather special balance between the disciplines to which the Colloquium is dedicated. The historical and sociological vantage point is addressed in Kramnick's and Mali's treatment of Priestley, in Vickers' and Feldhay's studies of the Renaissance occult, and in Warnke's and Barasch's work on the imagination. From a philosophical angle several concepts, all material to the methodology of science, are taken up: rule following, by Smart and Margalit; analysis, by Ackerman; explanation, by Taylor; and the role of mathematics in physics, by Levy-Leblond and Pitowsky. (shrink)