The Invention of Art: A Cultural HistoryMachine generated contents note: List of Illustrations xi -- Preface xv -- Introduction 3 -- The Great Division 5 -- Words and Institutions 10 -- PART I: BEFORE FINE ART AND CRAFT -- Overview 17 -- 1 The Greeks Had No Word for It 19 -- Art, techne, ars 19 -- The Artisan/Artist 22 -- Beauty and Function 24 -- 2 Aquinas's Saw 28 -- From "Servile" to "Mechanical" Arts 28 -- Artificers 30 -- The Idea of Beauty 33 -- 3 Michelangelo and Shakespeare: Art on the Rise 35 -- Opening up the Liberal Arts 35 -- The Changing Status of Artisan/Artists 38 -- The Ideal Qualities of the Artisan/Artist 45 -- Shakespeare, Jonson, and the "Work" 47 -- A Proto-Aesthetic? 53 -- 4 Artemisia's Allegory: Art in Transition 57 -- The Artisan/Artist's Continuing Struggle for Status 60 -- The Image of the Artisan/Artist 65 -- Steps toward the Category of Fine Art 67 -- The Role of Taste 71 -- PART II: ART DIVIDED -- Overview 75 -- 5 Polite Arts for the Polite Classes 79 -- Constructing the Category of Fine Art 80 -- The New Institutions of Fine Art 88 -- The New Art Public 94 -- 6 The Artist, the Work, and the Market 99 -- The Separation of the Artist from the Artisan 99 -- The Ideal Image of the Artist ill -- The Fate of the Artisan 115 -- The Gender of Genius 121 -- The Ideal of the "Work of Art" 123 -- From Patronage to the Market 126 -- 7 From Taste to the Aesthetic 130 -- Learning Aesthetic Behavior 133 -- The Art Public and the Problem of Taste 137 -- The Elements of the Aesthetic 140 -- Kant and Schiller Sum up the Aesthetic 146 -- PART III: COUNTERCURRENTS -- Overview 153 -- 8 Hogarth, Rousseau, Wollstonecraft 157 -- Hogarth's "Hedonist Aesthetics" 157 -- Rousseau's Festival Aesthetics 159 -- Wollstonecraft and the Beauty of Justice 164 -- 9 Revolution: Music, Festival, Museum 169 -- The Collapse of Patronage 169 -- The Revolutionary Festivals 171 -- Revolutionary Music 175 -- The Revolution and the Museum 180 -- PART IV: THE APOTHEOSIS OF ART -- Overview 187 -- o1 Art as Redemptive Revelation 189 -- Art Becomes an Independent Realm 189 -- The Spiritual Elevation of Art 194 -- n The Artist: A Sacred Calling 197 -- The Exalted Image of the Artist 197 -- The Descent of the Artisan 206 -- 12 Silences: Triumph of the Aesthetic 213 -- Learning Aesthetic Behavior 213 -- The Rise of the Aesthetic and the Decline of Beauty 219 -- The Problem of Art and Society 221 -- PART V: BEYOND FINE ART AND CRAFT -- Overview 225 -- 13 Assimilation and Resistance 229 -- The Assimilation of Photography 229 -- Varieties of Resistance: Emerson, Marx, Ruskin, Morris 234 -- The Arts and Crafts Movement 239 -- 14 Modernism, Anti-Art, and the Bauhaus 246 -- Modernism and Purity 246 -- The Case of Photography 251 -- Anti-Art 253 -- The Bauhaus 258 -- Three Philosopher-Critics on the Division of Art 263 -- Modernism and Formalism Triumphant 266 -- 15 Beyond Art and Craft? 269 -- "Primitive" Art 270 -- Crafts-as-Art 274 -- Architecture as Art 278 -- The Photography-as-Art Boom 282 -- The "Death of Literature"? 284 -- Mass Art 286 -- Art and Life 289 -- Public Art 297 -- Conclusion 303 -- Notes 309 -- References 319 -- Index 343. |
From inside the book
Results 1-5 of 53
Page viii
... Becomes an Independent Realm 189 The Spiritual Elevation of Art 194 The Artist : A Sacred Calling 197 The Exalted Image of the Artist 197 The Descent of the Artisan 206 12 Silences : Triumph of the Aesthetic Learning Aesthetic Behavior ...
... Becomes an Independent Realm 189 The Spiritual Elevation of Art 194 The Artist : A Sacred Calling 197 The Exalted Image of the Artist 197 The Descent of the Artisan 206 12 Silences : Triumph of the Aesthetic Learning Aesthetic Behavior ...
Page 5
... become opposites ; " artist " now meant the creator of works of fine art whereas " artisan " or " craftsman " meant the mere maker of something useful or entertaining . A third and equally fateful division occurred in the eighteenth 5 ...
... become opposites ; " artist " now meant the creator of works of fine art whereas " artisan " or " craftsman " meant the mere maker of something useful or entertaining . A third and equally fateful division occurred in the eighteenth 5 ...
Page 6
... become a new arena of spiritual investment . Because this conceptual revolution along with its related institutions still governs our cultural practices , it takes some effort to appreciate the depth of the rupture that had occurred ...
... become a new arena of spiritual investment . Because this conceptual revolution along with its related institutions still governs our cultural practices , it takes some effort to appreciate the depth of the rupture that had occurred ...
Page 15
... in the eighteenth century . Yet Danto as an essentialist is equally convinced that the art - versus - craft polarity is eternal and universal , although he grants that Western culture did not become fully aware of 15 INTRODUCTION.
... in the eighteenth century . Yet Danto as an essentialist is equally convinced that the art - versus - craft polarity is eternal and universal , although he grants that Western culture did not become fully aware of 15 INTRODUCTION.
Page 16
... become and now that the essence is revealed , its historical phase is over : art no longer has a " narrative direction " ( 2000 , 430 ) . This is the meaning of Danto s controversial phrase " the end of art , " which , provocative as it ...
... become and now that the essence is revealed , its historical phase is over : art no longer has a " narrative direction " ( 2000 , 430 ) . This is the meaning of Danto s controversial phrase " the end of art , " which , provocative as it ...
Contents
The Greeks Had No Word for It | 19 |
The ArtisanArtist | 22 |
Beauty and Function | 24 |
Aquinass Saw | 28 |
Artificers | 30 |
The Idea of Beauty | 33 |
Michelangelo and Shakespeare Art on the Rise | 35 |
The Changing Status of ArtisanArtists | 38 |
Revolution Music Festival Museum | 169 |
The Revolutionary Festivals | 171 |
Revolutionary Music | 175 |
The Revolution and the Museum | 180 |
THE APOTHEOSIS OF ART | 187 |
Art as Redemptive Revelation | 189 |
The Spiritual Elevation of Art | 194 |
The Artist A Sacred Calling | 197 |
The Ideal Qualities of the ArtisanArtist | 45 |
Shakespeare Jonson and the Work | 47 |
A ProtoAesthetic? | 53 |
Artemisias Allegory Art in Transition | 57 |
The ArtisanArtists Continuing Struggle for Status | 60 |
The Image of the ArtisanArtist | 65 |
Steps toward the Category of Fine Art | 67 |
The Role of Taste | 71 |
ART DIVIDED | 75 |
Polite Arts for the Polite Classes | 79 |
Constructing the Category of Fine Art | 80 |
The New Institutions of Fine Art | 88 |
The New Art Public | 94 |
The Artist the Work and the Market | 99 |
The Ideal Image of the Artist | 111 |
The Fate of the Artisan | 115 |
The Gender of Genius | 121 |
The Ideal of the Work of Art | 123 |
From Patronage to the Market | 126 |
From Taste to the Aesthetic | 130 |
Learning Aesthetic Behavior | 133 |
The Art Public and the Problem of Taste | 137 |
The Elements of the Aesthetic | 140 |
Kant and Schiller Sum up the Aesthetic | 146 |
COUNTERCURRENTS | 153 |
Hogarth Rousseau Wollstonecraft | 157 |
Rousseaus Festival Aesthetics | 159 |
Wollstonecraft and the Beauty of Justice | 164 |
The Descent of the Artisan | 206 |
Silences Triumph of the Aesthetic | 213 |
The Rise of the Aesthetic and the Decline of Beauty | 219 |
The Problem of Art and Society | 221 |
BEYOND FINE ART AND CRAFT | 225 |
Assimilation and Resistance | 229 |
Emerson Marx Ruskin Morris | 234 |
The Arts and Crafts Movement | 239 |
Modernism AntiArt and the Bauhaus | 246 |
The Case of Photography | 251 |
AntiArt | 253 |
The Bauhaus | 258 |
Three PhilospherCritics on the Division of Art | 263 |
Modernism and Formalism Triumphant | 266 |
Beyond Art and Craft? | 269 |
Primitive Art | 270 |
CraftsasArt | 274 |
Architecture as Art | 278 |
The PhotographyasArt Boom | 282 |
The Death of Literature? | 284 |
Mass Art | 286 |
Art and Life | 289 |
Public Art | 297 |
Conclusion | 303 |
Notes | 309 |
References | 319 |
343 | |
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Common terms and phrases
Académie Française aesthetic anti-art architect architecture art and craft art institutions art museum art system art versus craft art world art-versus-craft art's artisan artisan/artist artist assimilation audience Bauhaus beauty beaux-arts began called claimed concept creation creative critics culture dada dance Diderot division Duchamp eighteenth century Encyclopédie essay exhibition festival Figure formalist French function genius Hogarth Honoré Daumier idea of art ideal imagination imitation Kant Le Corbusier liberal arts literary literature Louvre Lyubov Popova Marcel Duchamp middle-class modern idea modern system modernist moral musicians Native American nature nineteenth century old system opera painters painting Paris photography play pleasure poet poetry polarities political popular production Renaissance Revolution rhetoric role Rousseau Schiller sculpture sense separate seventeenth century social society spiritual status system of art taste term theater theory thetic Tilted Arc tion traditional University Press visual arts William Hogarth women workshop writers York