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This second volume of the landmark Architectural Theory anthology surveys the development of architectural theory from the Franco-Prussian war of 1871 until the end of the twentieth century. The entire two volume anthology follows the full range of architectural literature from classical times to present transformations. An ambitious anthology bringing together over 300 classic and contemporary essays that survey the key developments and trends in architecture Spans the period from 1871 to 2005, from John Ruskin and the arts and crafts movement in Great Britain through to the development of Lingang New City, and the creation of a metropolis in the East China sea Organized thematically, featuring general and section introductions and headnotes to each essay written by a renowned expert on architectural theory Places the work of "starchitects" like Koolhaas, Eisenman, and Lyn alongside the work of prominent architectural critics, offering a balanced perspective on current debates Includes many hard-to-find texts and works never previously translated into English Alongside Volume I: An Anthology from Vitruvius to 1870, creates a stunning overview of architectural theory from early antiquity to the twenty-first century
A richly illustrated book exploring the origins of the modern fascination for heritage, comparing preservation in France, Germany and England.
Challenging distinctions between fine and decorative art, this book begins with a critique of the Rodin scholarship, to establish how the selective study of his oeuvre has limited our understanding of French nineteenth-century sculpture. The book's central argument is that we need to include the decorative in the study of sculpture, in order to present a more accurate and comprehensive account of the practice and profession of sculpture in this period. Drawing on new archival sources, sculptors and objects, this is the first sustained study of how and why French sculptors collaborated with state and private luxury goods manufacturers between 1848 and 1895. Organised chronologically, the book identifies three historically-situated frameworks, through which sculptors attempted to validate themselves and their work in relation to industry: industrial art, decorative art and objet d'art. Detailed readings are offered of sculptors who operated within and outside the Salon, including S?n, Ch?t, Carrier-Belleuse and Rodin; and of diverse objects and materials, from S?es vases, to pewter plates by Desbois, and furniture by Barbedienne and Carabin. By contesting the false separation of art from industry, Claire Jones's study restores the importance of the sculptor-manufacturer relationship, and of the decorative, to the history of sculpture.
This volume adopts a varied approach to the study of the 'material world' in the French literature, thought and visual arts of the 19th century. Contributors look not only at the Romantic and Realist transcendence of the Neo-classical heritage of abstraction and idealism, but also adopt modern critical perspectives to analyse central themes such as urbanisation, fetishism and the representation of the female body.
"An examination of the paintings Monet made en plein air alongside his artist colleagues, and the meaning and impact that this practice had on his fellow impressionists"--
Through an engagement with the philosophies of Proust's contemporaries, Félix Ravaisson, Henri Bergson, and Georg Simmel, Suzanne Guerlac presents an original reading of Remembrance of Things Past (A la recherche du temps perdu). Challenging traditional interpretations, she argues that Proust's magnum opus is not a melancholic text, but one that records the dynamic time of change and the complex vitality of the real. Situating Proust's novel within a modernism of money, and broadening the exploration through references to cultural events and visual technologies (commercial photography, photojournalism, pornography, the regulation of prostitution, the Panama Scandal, and the Dreyfus Affair), this study reveals that Proust's subject is not the esthetic recuperation of loss but rather the adventure of living in time, on both the individual and the social level, at a concrete historical moment.