Vienna 1900

Vergo, Peter

Arts & Photography

The Stationery Office/Tso

"The importance of Kandinsky's art and thought in the history of modern art combined with the completeness, careful scholarship, and crisp design of this volume make it especially useful."--Choice Of all the giants of twentieth-century art, Wassily Kandinsky (1866-1944) was the most prolific writer. Here, available for the first time in paperback, are all of Kandinsky's writings on art, newly translated into English. Editors Kenneth C. Lindsay and Peter Vergo have taken their translations directly from Kandinsky's original texts, and have included select interviews, lecture notes, and newly discovered items along with his more formal writings. The pieces range from one-page essays to the book-length treatises On the Spiritual in Art (1911) and Point and Line to Plane (1926), and are arranged in chronological order from 1901 to 1943. The poetry, good enough to stand on its literary merits, is presented with all the original accompanying illustrations. And the book's design follows Kandinsky's intentions, preserving the spirit of the original typography and layout. Kandinsky was nearly thirty before he bravely gave up an academic career in law for his true passion, painting. Though his art was marked by extraordinarily varied styles, Kandinsky sought a pure art throughout, one which would express the soul, or "inner necessity," of the artist. His uncompromising search for an art which would elicit a response to itself rather than to the object depicted resulted in the birth of nonobjective art-and in these writings, Kandinsky offered the first cogent explanation of his aims. His language was characterized by its desire for vivification, of the infusion of life into mundane things. Considered as a whole, Kandinsky's writings exceed all expectations of what an artist should accomplish with words. Not only do his ideas and observations make us rethink the nature of art and the way it reflects the aspirations of his era, but they touch on matters vital to the situation of the human soul.

Kandinsky: Complete Writings On Art

Lindsay, Kenneth C.

History & Criticism

Da Capo

Art in Vienna 1898-1918. Klimt Kokoschka Schiele and their Contemporaries

Art in Vienna 1898-1918: Klimt, Kokoschka, Schiele and their contemporaries

Phaidon

The Blue Rider

Phaidon Press

Physical description; 256 p. : ill. (some col.) ; 29 cm. Subject; Art, Modern : 20th century : Austria : Vienna : history.

Art in Vienna, 1898-1918: Klimt, Kokoschka, Schiele and Their Contemporaries

Phaidon Press Ltd.

Con 214 ill. in nero e a colori . 4to pp. 256 Brossura (wrappers) Ottimo (Fine)

Art in Vienna 1898 - 1918 Klimt, Kokoschka, Schiele and their contemporarie s

The artistic stagnation of Vienna at the end of the nineteenth century was rudely shaken by the artists of the Secession. Their works at first shocked a conservative public; but their successive exhibitions, their magazine Ver Sacrum, and their application to the applied arts and architecture soon brought them an enthusiastic following and wealthy patronage. This third edition, with over 60 new colour plates, brilliantly traces the course of this development, of the Wiener Werkstatte that followed, and the individual works of the artists concerned. Klimt, Kokoschka and Schiele were the leading figures in the fine arts; Wagner, Olbrich, Loos and Hoffmann in architecture and the applied arts. In other fields Mahler, Freud and Schnitzler were influencing the avant-garde. The author quotes extensively from the writings, many of them not previously published in English, of contemporary reviewers, critics and the artists themselves. He has eye-witness accounts of the exhibitions, the opening of the Secession building, the work in progress on the Palais Stoclet and the Kabarett Fledermaus. The result is a fascinating documentary study of the successes and failures, hopes and fears of the members of an artistic movement which is much admired today.

Art in Vienna

Ever since antiquity, philosophers have pointed to the supposed 'divine' character of music, and following Pythagoras's discovery of the mathematical basis of the musical scale, have posited a link between the mathematical order of music, the physical order of the universe and the moral order of human society. Both practising artists and moralists came to believe that, by demonstrating an analogy with music, they could claim a dignity and value for their art - whether painting, architecture or sculpture - that it might otherwise lack. music believed to enjoy, by comparison with the visual arts? order to which visual arts should aspire. But on what evidence was this belief in the inherently systematic character of music based; and in practical terms, how might visual art seek to emulate any such divine order or system? In what way might Gothic cathedrals have been based on systems of harmonic proportion? How did Poussin's search for a compositional principle derived from antique 'modes' in music resemble, or differ from, Palladio's attempts to embody musical 'harmonies' in architecture? And how did each artist conceive of the sense and value of such analogies? first time, Professor Vergo makes direct and detailed comparisons between musical and pictorial practices in the long period covered by the book. He also provides a broad analysis of changes in the character of the analogies drawn at different times, using in his analyses critical and philosophical sources as well as evidence about artistic and musical practice. practising artists and musicians, to students of cultural history and those concerned with aesthetic theory and interdisciplinary studies.

That Divine Order

A sequel to Phaidon's That Divine Order, (2005), which surveyed the relationship between music and the visual arts from ancient times until the mid-eighteenth century, The Music of Painting continues this fascinating study in the period covering the emergence and development of Modernism, c.1850-1950. Composers and artists repeatedly borrowed from one another, yet their motives have seldom been explored. Professor Peter Vergo provides a broad analysis of changes in the character of the analogies drawn at different times, using in his analysis critical and philosophical sources as well as evidence about artistic and musical practice. Music has inspired some of the most progressive art of our time from the abstract painting of Wassily Kandinsky to the mid-century experimental films of Oskar Pischinger. The most complete examination of this phenomenon to date, The Music of Painting features major works of art plus related documentation, focusing on abstract and mixed-media art forms and their connections to musical forms as varied as classical and jazz.

The Music of Painting: Music, Modernism and the Visual Arts from the Romantics to John Cage

Composers and artists have always borrowed from each other. Peter Vergo, for the first time, offers an in-depth study of how and why, in the modernist era, music and painting became intertwined. Artist-composer relationships examined include Debussy's interest in Whistler, Tuner, and Monet, Franz Liszt's fascination with Raphael and Michelangelo, Kandinsky with Schoenberg and Paul Klee's influence from Polyphonic music. How artists attempted to translate musical rhythms, and structures into painting and how musicians developed visual themes, all within the backdrop to modernism, as time of huge change in freedoms, industry, expression, ideological frameworks, and artistic practice.

Study & Teaching

See the best price to sell, buy, or rent books by Vergo, Peter. BookScouter helps to compare book prices from 25+ online bookstores and 30+ buyback vendors with a single search.

Books by Vergo, Peter

See the best price to sell, buy, or rent books by Vergo, Peter. BookScouter helps to compare book prices from 25+ online bookstores and 30+ buyback vendors with a single search.

Vienna 1900

Kandinsky: Complete Writings On Art

Art in Vienna 1898-1918: Klimt, Kokoschka, Schiele and their contemporaries

The Blue Rider

Art in Vienna, 1898-1918: Klimt, Kokoschka, Schiele and Their Contemporaries

Art in Vienna 1898 - 1918 Klimt, Kokoschka, Schiele and their contemporarie s

Art in Vienna

That Divine Order

The Music of Painting: Music, Modernism and the Visual Arts from the Romantics to John Cage

The Music of Painting: Music, Modernism and the Visual Arts from the Romantics to John Cage