Excerpt from Renaissance und Barock: Eine Untersuchung Über Wesen und Entstehung des Barockstils in ItalienKap. 3. Massigkeit Zunahme der Masse und Betonung der Schwere bis zur Formlosigkeit Charakter der Masse: weich, saftig. Das Wulstige Die Masse ist nicht vollkommen durchgeformt und durchgegliedert a) Stoffgebundene wenig differenzierte Formen: Pfeiler, Pﬂaster Lisenen; die Mauersäule. B) Vervielfachung der Glieder. C) Vervielfachung der Anfangs und Schlussmotive. D) Rahmen und Eckbildung. E) Das Ganze kein durchgebildeter Organismus Geschlossene unentwickelte Massenhaftigkeit.gs.About the PublisherForgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.comThis book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

Renaissance und Barock: Eine Untersuchung Über Wesen und Entstehung des Barockstils in Italien (Classic Reprint)

Arts & Photography

Heinrich Wölfflin

Architecture

Forgotten Books

What are fundamental differences between classic & baroque. Is there a pattern underlying the seemingly helterskelter development of art in different cultures & times? What causes our entirely different emotional reactions to say, Durer & Rembrandt. The author analyzes the work of 64 major artists as well as sculptors & architecture. plus 150 illustrations of the works of major artists.

Principles of Art History

G.Bell

The art of Albrecht Dürer

Phaidon [distributed in the U.

Renaissance and Baroque

History & Criticism

Cornell University Press

Principles of Art History: The Problem of the Development of Style in Later Art

What are the fundamental differences between classic and baroque art? Is there a pattern underlying the seemingly helter-skelter development of art in different cultures and at different times? What causes our entirely different reactions to precisely the same painting or to the same painter?In this now-classic treatise, published originally in Germany in the early 1920s, Professor Wölfflin provides an objective set of criteria to answer these and related questions. Examining such factors as style, quality, and mode of representation in terms of five opposed dynamisms (the linear vs. painterly, plane vs. recession, closed vs. open form, multiplicity vs. unity, and clearness vs. unclearness), the author analyzes the work of 64 major artists, delving even into sculpture and architecture. 150 illustrations of the work of Botticelli, van Cleve, Durer, Holbein, Brueghel, Bouts, Hals, Rembrandt, Velasquez, Titian, Vermeer, and other major figures accompany Professor Wölfflin's brilliant contributions to the methodology of art criticism.Whether you teach art, study it, or want to understand it purely for your own enjoyment, this epoch-making study will certainly increase your comprehension of and pleasure in the world's art heritage.

Peter Smith Pub Inc

<p>The six essays presented in this volume afford the English-reading public the first serious and considered overview of the uniquely Germanic movements of psychological aesthetics and Kunstwissenschaft. Written in the last three decades of the nineteenth century - at a time when the proliferation of knowledge and dramatic social and economic change had combined to force the issue of art's exhaustion of its traditional historical themes - these seminal writings helped to redesign the theoretical foundation of modern artistic practice. The earlier metaphysical problem of how we structure and understand form and space in the natural world in essence gave way to the aesthetic problem of how we might appreciate and actually exploit pure form and pure space artistically, in painting, sculpture, music, and architecture. The psychological thesis of "empathy," the more general philosophical search for art's "basic motives," the expansive speculation on the nature of style change: all combined, in essence, to open artistic discussion to the possibility of nonrepresentational expression. Thus these innovations in theory provided support and scientific discipline to the revolutionary visage of early twentieth-century movements of modern abstract art. In a detailed introductory essay, Harry Francis Mallgrave and Eleftherios Ikonomou situate these writings within the historical and philosophical context of German formalist aesthetics. They address at length both the insights and intellectual horizons of the six authors and the impelling theories of such related thinkers as Johann Friedrich Herbart, Friedrich Theodor Vischer, Johannes Volkelt, Wilhelm Dilthey, and Edmund Husserl.</p>

Empathy, Form, and Space: Problems in German Aesthetics, 1873-1893 (Texts and Documents Series)

Robert Vischer

Conrad Fiedler

Adolf Goller

Adolf Hildebrand

August Schmarsow

Getty Center for the History of Art and the Humanities

Principes fondamentaux de l'histoire de l'art (French Edition)

PARENTHESES

The Dostoevsky Museum In St. Petersburg: A Guidebook

N.T. Ashimbaeva

Dover Publications

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