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Exploring the notion of tactility in dada and surrealism
First published in 2003 Consuming the Past covers pilgrimages to popular festivals, from modern spectacles to advertising, from the work of avant-garde painters to the novels of Emile Zola, and explores the complexity of the fin-de-siècle French fascination with the Middle Ages. The authors map the cultural history of the period from the end of the Franco-Prussian war to the 1905 separation of Church and State illuminating the powerful appeal that the medieval past held for a society undergoing the rapid changes of industrialisation.
One of the goals of Modernism was the presentation of the essence of art, or pure form. Encouraged by theorists, modern artists found pure form in ornament which, though promising, was sullied by connotations of materiality, domesticity, and femininity. Jenny Anger demonstrates that the decorative significantly informed Paul Klee's art. She compares his work to that of another major modernist, Henri Matisse, to confirm the critical role of the decorative in Modernism. Anger also explores the relevance of the decorative for contemporary and, especially, women artists.
"Unequivocally a modern, Francois Boucher (1703-70) defined the French artistic avant-garde throughout his career. Yet the triumph of modernist aesthetics - with its focus on the self-critical, the autonomous, and the intellectually challenging - has long discouraged art historians and other viewers from taking Boucher's playful and alluring works seriously. Rethinking Boucher revisits the cultural meanings and reception of his diverse oeuvre, inviting us to revise the interpretive cliches by which we have sought to tame this artist and his epoch."--BOOK JACKET.
Architectural Space in Eighteenth-Century Europe: Constructing Identities and Interiors explores how a diverse, pan-European group of eighteenth-century patrons - among them bankers, bishops, bluestockings, and courtesans - used architectural space and décor to shape and express identity. Eighteenth-century European architects understood the client's instrumental role in giving form and meaning to architectural space. In a treatise published in 1745, the French architect Germain Boffrand determined that a visitor could "judge the character of the master for whom the house was built by the way in which it is planned, decorated and distributed." This interdisciplinary volume addresses two key interests of contemporary historians working in a range of disciplines: one, the broad question of identity formation, most notably as it relates to ideas of gender, class, and ethnicity; and two, the role played by different spatial environments in the production - not merely the reflection - of identity at defining historical and cultural moments. By combining contemporary critical analysis with a historically specific approach, the book's contributors situate ideas of space and the self within the visual and material remains of interiors in eighteenth-century Europe. In doing so, they offer compelling new insight not only into this historical period, but also into our own.
Publisher description
Touch is the first sense to develop in the womb, yet often it is overlooked. The Senses of Touch examines the role of touching and feeling as part of the fabric of everyday, embodied experience. How can we think about touch? Problems of touch and tactility run as a continuous thread in philosophy, psychology, medical writing and representations in art, from Ancient Greece to the present day. Picking through some of these threads, the book 'feels' its way towards writing and thinking about touch as both sensory and affective experience. Taking a broadly phenomenological framework that traces tactility from Aristotle through the Enlightenment to the present day, the book examines the role of touch across a range of experiences including aesthetics, digital design, visual impairment and touch therapies. The Senses of Touch thereby demonstrates the varieties of sensory experience, and explores the diverse range of our 'senses' of touch.
From the softest caress to the harshest blow, touch lies at the heart of our experience of the world. Now, for the first time, this deepest of senses is the subject of an extensive historical exploration. The Deepest Sense: A Cultural History of Touch fleshes out our understanding of the past with explorations of lived experiences of embodiment from the middle ages to modernity. This intimate and sensuous approach to history makes it possible to foreground the tactile foundations of Western culture--the ways in which feelings shaped society. Constance Classen explores a variety of tactile realms including the feel of the medieval city; the tactile appeal of relics; the social histories of pain, pleasure, and affection; the bonds of touch between humans and animals; the strenuous excitement of sports such as wrestling and jousting; and the sensuous attractions of consumer culture. She delves into a range of vital issues, from the uses--and prohibitions--of touch in social interaction to the disciplining of the body by the modern state, from the changing feel of the urban landscape to the technologization of touch in modernity. Through poignant descriptions of the healing power of a medieval king's hand or the grueling conditions of a nineteenth-century prison, we find that history, far from being a dry and lifeless subject, touches us to the quick.