The Forces of Form in German Modernism discloses a decisive yet neglected aspect of modernism: its profound concern with the experience of the heavy body and its defense of form as emergent from the forces of gravity and the will.
Bodily Desire, Desired Bodies examines the diverse ways that literary works and paintings can be read as screens onto which new images of masculinity and femininity are cast. Esther Bauer focuses on German and Austrian writers and artists from the 1910s and 1920s —specifically authors Franz Kafka, Vicki Baum, and Thomas Mann, and painters Otto Dix, Christian Schad, and Egon Schiele—who gave spectacular expression to shifting trends in male and female social roles and the organization of physical desire and the sexual body.
Edited by Marina Balina, Nancy Condee and Evgeny Dobrenko
Introduction by Nancy Condee
Sots-Art Literature and Soviet Grand Style examines the conceptual aspect of sots-art, sots-art poetry, and sots-art prose, and discusses where these still-vital intellectual currents may lead.
The Baroque period was crucial for the development of art theory and the advancement of the artistic academy. This collection of primary sources brings this important period to life with significant...
Creighton E. Gilbert captures the spirit of the early Renaissance in this remarkable collection of primary texts by and about artists of the fifteenth century. Italian Art makes a valuable contribution not only to the field of art history, but also to social and intellectual history. Almost all aspects of the life of the period—war, fashion, travel, communication—are documented. Revealing significant aspects of the practice of art, the process of patronage, and the way of life and social position of early Renaissance artists, Italian Art brings this fascinating period to life for students and scholars.
Italian Art, 1500–1600 provides a unique view of the development of the literature on art in Italy during the Cinquecento. The selections bring out the close relationship between art theories and the actuality of art and chart a trend from a humanistic orientation to a more technical and professorial one. The documents and commentary reveal the effects that humanistic circles, the courts, and the Church—during the Renaissance and the Counter-Reformation—had on the way people wrote and thought about art.
