Art and AnarchyWill works of the imagination ever regain the power they once had to challenge and mould society and the individual? This was the question posed by Edgar Wind's influential Reith Lectures delivered in 1960 and later expanded into his book Art and Anarchy. The book examines the various forces that have fashioned the modern view of the art, from mechanization and fear of intellect to connoisseurship and--perhaps the fundamental weakness of our age--the dispassionate acceptance of art. In the course of his discussion, Wind surveyed a wide range of topics in the history of painting, literature, music, and the plastic arts from the Renaissance to modern times. |
Contents
Art and Anarchy | 1 |
Aesthetic Participation | 17 |
Critique of Connoisseurship | 30 |
The Fear of Knowledge | 47 |
The Mechanization of Art | 63 |
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Common terms and phrases
Accademia Carrara aesthetic argument Arnold Schönbergs Art and Anarchy artist Baudelaire beauty become belief Berenson Burckhardt called cathedral century Clive Bell colour connoisseur connoisseurship critical Croce Cubisme Dead Christ didactic dissociation effect Essays example experience fact fauve fear fiction film force fragment Gallery Gide Giovanni Morelli Greek Hegel Henry Moore Hogarth Hurel ibid illustrations imagination Italian Jarry kind Kunst l'art lecture Les poètes maudits literary live look Mallarmé Manet Matisse matter mechanization Medici method Michelangelo modern Morellian Museum Oeuvres painter painting passion patrons Paul Klee perhaps philosophy Picasso picture Plato poet poetic poetry Portrait produced pure art Raphael remark Remy de Gourmont Renaissance Rodin Roger Fry Romantic Schoenberg Schriften sculpture sense shape sketch sort spirit style suggests T.S. Eliot technique theory thought Titian true unfinished Valéry vision visual Vollard Wind Wölfflin word