Read Anywhere and on Any Device!

Subscribe to Read | $0.00

Join today and start reading your favorite books for Free!

Create Free Account

The Body in Pieces: The Fragment as a Matephor of Modernity

3.8/5 ( ratings)

By the end of the eighteenth century a sense of anxiety and crisis began to preoccupy European writers and artists in their relationship to a heroic past. The grandness of that history no longer fit into the framework of the present, and artists felt overwhelmed by the magnitude of past heroic accomplishment. This was soon reflected in artistic representation, from Fuseli on. The partial image, the "crop," fragmentation, ruin, and mutilationall expressed grief and nostalgia for the loss of a vanished totality, a utopian wholeness. Often such feelings were expressed in deliberate destructiveness, which became the new way of seeing: the notion of the modern. In The Body in Pieces, the noted critic and art historian Linda Nochlin traces these developments by looking at work produced by artists from Neoclassicism and Romanticism to Impressionism, Post-Impressionism, Surrealism, and beyond. 59 illustrations.

Language: English

Pages: 64

Format: Paperback

Publisher: Thames Hudson

Release: October 17, 2001

ISBN: 0500283052

ISBN 13: 9780500283059

The Body in Pieces: The Fragment as a Matephor of Modernity

3.8/5 ( ratings)

By the end of the eighteenth century a sense of anxiety and crisis began to preoccupy European writers and artists in their relationship to a heroic past. The grandness of that history no longer fit into the framework of the present, and artists felt overwhelmed by the magnitude of past heroic accomplishment. This was soon reflected in artistic representation, from Fuseli on. The partial image, the "crop," fragmentation, ruin, and mutilationall expressed grief and nostalgia for the loss of a vanished totality, a utopian wholeness. Often such feelings were expressed in deliberate destructiveness, which became the new way of seeing: the notion of the modern. In The Body in Pieces, the noted critic and art historian Linda Nochlin traces these developments by looking at work produced by artists from Neoclassicism and Romanticism to Impressionism, Post-Impressionism, Surrealism, and beyond. 59 illustrations.

Language: English

Pages: 64

Format: Paperback

Publisher: Thames Hudson

Release: October 17, 2001

ISBN: 0500283052

ISBN 13: 9780500283059

More books from Linda Nochlin

Why Have There Been No Great Women Artists?

4.4/5 ( ratings)

Women, Art, and Power and Other Essays

4.3/5 ( ratings)

Realism

3.9/5 ( ratings)

Women Artists: The Linda Nochlin Reader

4.4/5 ( ratings)

Nineteenth Century Art: A Critical History

3.7/5 ( ratings)

The Paintings of Joan Mitchell

4.5/5 ( ratings)

The Politics of Vision: Essays on Nineteenth-century Art and Society

Representing Women

4.1/5 ( ratings)

Courbet

4.1/5 ( ratings)

Misère: The Visual Representation of Misery in the 19th Century

3.8/5 ( ratings)

Women Impressionists: Berthe Morisot, Mary Cassatt, Eva Gonzal�s, Marie Bracquemond

4.5/5 ( ratings)

Bathers, Bodies, Beauty: The Visceral Eye

4.4/5 ( ratings)

Critical Readings in Impressionism and Post-Impressionism: An Anthology

3.6/5 ( ratings)

Cecily Brown

3.6/5 ( ratings)

Natalie Frank: Tales of the Brothers Grimm

4.8/5 ( ratings)

Florine Stettheimer: Manhattan Fantastica

4.1/5 ( ratings)

Women in the 19th Century: Categories and Contradictions (Portfolio)

3.8/5 ( ratings)

Courbet Reconsidered

4.1/5 ( ratings)

Woman As Sex Object; Studies In Erotic Art, 1730-1970

Polymorphous Perverse

Rate this book!

Write a review?