Kirjahaku

Adrian Stokes was one of the twentieth century's finest and most discriminating writers on art. Of over twenty works of art criticism, Michelangelo was considered by Lawrence Gowing to be the most complete he ever wrote, presenting an understanding of the great artist that no one subsequently could afford to ignore. Stokes brings to bear in this work not only twenty-five years' study and appreciation of Italian Renaissance art and of aesthetics, but also a unique psychological perspective, as he explains in his introduction, which enables him to uncover the depths of the artist's personality. The subtlety of feeling and profound knowledge of sculpture which Sir Herbert Read admired in Stokes's work is also combined with a literary style perfected through his own poetry and criticism. Presenting a unique survey of his subject's literary as well as his artistic legacy, Stokes succeeds, as no other has before or since, in his aim of bringing Michelangelo's greatness into nearer view.

Adrian Stokes was one of the twentieth century's finest and most discriminating writers on art. Of over twenty works of art criticism, Michelangelo was considered by Lawrence Gowing to be the most complete he ever wrote, presenting an understanding of the great artist that no one subsequently could afford to ignore. Stokes brings to bear in this work not only twenty-five years' study and appreciation of Italian Renaissance art and of aesthetics, but also a unique psychological perspective, as he explains in his introduction, which enables him to uncover the depths of the artist's personality. The subtlety of feeling and profound knowledge of sculpture which Sir Herbert Read admired in Stokes's work is also combined with a literary style perfected through his own poetry and criticism. Presenting a unique survey of his subject's literary as well as his artistic legacy, Stokes succeeds, as no other has before or since, in his aim of bringing Michelangelo's greatness into nearer view.

This title was first published in 2002. Adrian Stokes was a British painter and writer whose books on art have been allowed to go out of print despite their impact on Modernist culture. This new edition of The Quattro Cento and The Stones of Rimini presents the original texts of 1932 and 1934 and furnishes them with introductions by David Carrier and Stephen Kite that will help readers grasp the structure and significance of what have become Stokes' most widely cited and influential books. Written as parts of an incomplete trilogy, The Quattro Cento and The Stones of Rimini mark a crossroad in the transition from late Victorian to Modernist conceptions of art, especially sculpture and architecture. Stokes continued, even expanded, John Ruskin's and Walter Pater's belief that art is essential to the individual's proper psychological development but wove their teaching into a new aesthetic shaped by his experience of psychoanalysis and recent innovations in literature, dance, and the visual arts. This volume will be of interest to those concerned with art criticism, aesthetics and psychoanalysis, as well as the art and architecture of the Renaissance and Modern periods. Supported by the Henry Moore Foundation in memory of David Sylvester.

This title was first published in 2002. Adrian Stokes was a British painter and writer whose books on art have been allowed to go out of print despite their impact on Modernist culture. This new edition of The Quattro Cento and The Stones of Rimini presents the original texts of 1932 and 1934 and furnishes them with introductions by David Carrier and Stephen Kite that will help readers grasp the structure and significance of what have become Stokes' most widely cited and influential books. Written as parts of an incomplete trilogy, The Quattro Cento and The Stones of Rimini mark a crossroad in the transition from late Victorian to Modernist conceptions of art, especially sculpture and architecture. Stokes continued, even expanded, John Ruskin's and Walter Pater's belief that art is essential to the individual's proper psychological development but wove their teaching into a new aesthetic shaped by his experience of psychoanalysis and recent innovations in literature, dance, and the visual arts. This volume will be of interest to those concerned with art criticism, aesthetics and psychoanalysis, as well as the art and architecture of the Renaissance and Modern periods. Supported by the Henry Moore Foundation in memory of David Sylvester.