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Contra el formalismo afectivo: Matisse, Bergson, modernismo de Todd Cronan-
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Ubicado en: Saint Paul, Minnesota, Estados Unidos
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N.º de artículo de eBay:335360226722
Características del artículo
- Estado
- ISBN
- 9780816676033
- Subject Area
- Art, Philosophy
- Publication Name
- Against Affective Formalism : Matisse, Bergson, Modernism
- Publisher
- University of Minnesota Press
- Item Length
- 10 in
- Subject
- History / Modern (Late 19th Century to 1945), General, Aesthetics
- Publication Year
- 2014
- Type
- Textbook
- Format
- Trade Paperback
- Language
- English
- Item Height
- 1.5 in
- Item Weight
- 12.3 Oz
- Item Width
- 7 in
- Number of Pages
- 336 Pages
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Product Identifiers
Publisher
University of Minnesota Press
ISBN-10
0816676038
ISBN-13
9780816676033
eBay Product ID (ePID)
150547135
Product Key Features
Number of Pages
336 Pages
Language
English
Publication Name
Against Affective Formalism : Matisse, Bergson, Modernism
Subject
History / Modern (Late 19th Century to 1945), General, Aesthetics
Publication Year
2014
Type
Textbook
Subject Area
Art, Philosophy
Format
Trade Paperback
Dimensions
Item Height
1.5 in
Item Weight
12.3 Oz
Item Length
10 in
Item Width
7 in
Additional Product Features
Intended Audience
Scholarly & Professional
LCCN
2013-015888
Dewey Edition
23
Reviews
"Matisse knows that sensations belong to - or alas have been detached from - particular human occasions, ways of being, forms of life. But the exacerbation of colour in Matisse speaks, dialectically, to the lack of particularity that makes us 'modern'. This to and fro of contraries is dealt with powerfully in a new book by Todd Cronan, Against Affective Formalism: Matisse, Bergson, Modernism. Colour, for Matisse - pure sensation, the stuff of the senses - will make, will be, a form of life. And at the same time it will enact the extremity - the uncanniness - of the wish." - T. J. Clark, "The Urge to Strangle," The London Review of Books, "Todd Cronan's juggernaut is several books in one. In the first place, it historicizes a crucial question in contemporary esthetics, whether or not a beholder's experience of a work of art can properly be understood as affective rather than as cognitive. Second, it offers a strong rereading of various writings by Henri Bergson--whose philosophy has often been associated with the art of Matisse--with respect to that and related issues, showing in the end that although Bergson was continually tempted by the affective position, he never quite definitely succumbed to it. Third and most important, Cronan tracks the interplay between the affective and cognitivist viewpoints in the theory and practice of one of the great painters of the twentieth century, Henri Matisse; this sets Cronan on a collision course--from which he does not flinch --with the almost uniformly affective bias of recent Matisse criticism. Against Affective Formalism is a major achievement, and I look forward with fascination to its reception by a field that is likely to be transformed by it." --Michael Fried, Johns Hopkins University , "Matisse knows that sensations belong to - or alas have been detached from - particular human occasions, ways of being, forms of life. But the exacerbation of colour in Matisse speaks, dialectically, to the lack of particularity that makes us 'modern'. This to and fro of contraries is dealt with powerfully in a new book by Todd Cronan, Against Affective Formalism: Matisse, Bergson, Modernism. Colour, for Matisse - pure sensation, the stuff of the senses - will make, will be, a form of life. And at the same time it will enact the extremity - the uncanniness - of the wish." - T. J. Clark, "The Urge to Strangle," The London Review of Books , "Todd Cronan's juggernaut is several books in one. In the first place, it historicizes a crucial question in contemporary esthetics, whether or not a beholder's experience of a work of art can properly be understood as affective rather than as cognitive. Second, it offers a strong rereading of various writings by Henri Bergson--whose philosophy has often been associated with the art of Matisse--with respect to that and related issues, showing in the end that although Bergson was continually tempted by the affective position, he never quite definitely succumbed to it. Third and most important, Cronan tracks the interplay between the affective and cognitivist viewpoints in the theory and practice of one of the great painters of the twentieth century, Henri Matisse; this sets Cronan on a collision course--from which he does not flinch --with the almost uniformly affective bias of recent Matisse criticism. Against Affective Formalism is a major achievement, and I look forward with fascination to its reception by a field that is likely to be transformed by it." --Michael Fried, Johns Hopkins University
Illustrated
Yes
Dewey Decimal
701
Table Of Content
Contents Acknowledgments List of Illustrations Introduction: Modernism against Representation 1. Painting as Affect Machine 2. Freedom and Memory: Bergson's Theory of Hypnotic Agency 3. The Influence of Others: Matisse and Personnalité 4. Matisse and Mimesis Conclusion. From Art to Object: The Case of Paul Valéry Notes Index
Synopsis
For nearly fifty years the humanities have been confined by a series of critiques: of the subject, of representation, of the visual, of modernism, of autonomy, of intention, of art itself. In their place various "materialities" have appeared: signs, identities, bodies, history, and works. Against Affective Formalism challenges these orthodoxies. "What I am after, above all, is expression," Henri Matisse declared. Matisse believed that through the careful arrangement of line and color he could transmit his feelings directly to the minds and bodies of his viewers. Yet Matisse continually struggled with the reality that his feelings were misunderstood--or simply ignored--by viewers of his art. Matisse oscillates between a desire for expressive command over the viewer and a sense of the impossibility of making himself known. Against Affective Formalism confronts modernism's dissatisfactions with representation. As Todd Cronan explains, a central tenet of modernist thought turns on the effort to overcome representation in the name of something more explicit in its capacity to generate bodily or affective experience. Henri Bergson was one of the most influential advocates of the antirepresentational impulse; his novel theories of memory and freedom gripped a generation of writers, philosophers, psychologists, and artists. Matisse and Bergson worked within and against the context of form and expression that remains in force today. Writing in opposition to prevailing theories and assumptions about the relation of intention and form--most of which accept the "death of the author" as a basic fact of interpretation--Cronan argues that the beholder's response to art, outside a framework of intentionality, is irrelevant to a work's meaning. Intentions are not a matter of method at all: no letter, biography, document, archive, or key will recover an intention. What matters is that intentions make works of art different from objects in the world., Against Affective Formalism confronts modernism's dissatisfactions with representation. Writing in opposition to prevailing theories and assumptions about the relation of intention and form Todd Cronan argues that the beholder's response to art, outside a framework of intentionality, is irrelevant to a work's meaning. What matters is that intentions make works of art different from objects in the world.
LC Classification Number
N70
Copyright Date
2013
ebay_catalog_id
4
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