Kirjahaku

In the first decades of the 20th century, the art critic Roger Fry introduced English-speaking audiences to modern French art and formalist aesthetic theory. this text, edited by Christopher Reed, brings together for the first time a comprehensive selection of Fry's essays. Most appear here for the first time since their original publication in scholarly journals and art magazines, while some have never been published before. Representing 40 years of engagement with the arts, the essays cover a broad spectrum of topics, from Fry's influential promotion of Post-Impressionism to art education, museums, architecture, decorative art, and the implications of literature and dance for the visual arts. Reed also provides valuable historical background and considers Fry's legacy for the present.

In the first decades of the 20th century, the art critic Roger Fry introduced English-speaking audiences to modern French art and formalist aesthetic theory. this text, edited by Christopher Reed, brings together for the first time a comprehensive selection of Fry's essays. Most appear here for the first time since their original publication in scholarly journals and art magazines, while some have never been published before. Representing 40 years of engagement with the arts, the essays cover a broad spectrum of topics, from Fry's influential promotion of Post-Impressionism to art education, museums, architecture, decorative art, and the implications of literature and dance for the visual arts. "A Roger Fry Reader" affords an opportunity to examine both the foundations of modern art criticism from the point of view of one of its foremost practitioners and current debates about the nature ofart and aesthetic experience.

Cezanne: A Study Of His Development is a book written by Roger Fry that provides an in-depth analysis of the artistic career of the French post-impressionist painter, Paul Cezanne. The book traces the development of Cezanne's style and technique, from his early years as a student in Aix-en-Provence to his later years in Paris. Fry examines Cezanne's use of color, form, and composition, and how his work influenced the development of modern art. The book includes numerous illustrations of Cezanne's paintings, drawings, and watercolors, as well as photographs of the artist and his studio. Fry's writing is accessible and engaging, making this book a valuable resource for art students, scholars, and enthusiasts alike.This is a new release of the original 1927 edition.This scarce antiquarian book is a facsimile reprint of the old original and may contain some imperfections such as library marks and notations. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions, that are true to their original work.

Roger Fry (1866-1934) was a well-known art critic and member of the Bloomsbury Group. Art historian Lord Kenneth Clark said of Fry: "incomparably the greatest influence on taste since Ruskin ... In so far as taste can be changed by one man, it was changed by Roger Fry." In this short essay, first published in 1924 and originally presented to the British Psychological Society, Fry outlines his theory of an "aesthetic emotion" and explains his belief that the Freudian psychoanalytic approach to the understanding of art is wrong. The text includes a woodcut self-portrait of Roger Fry and a contemporary review of the essay. The cover features the original image by Vanessa Bell prepared for the Hogarth Essays series.

"This book contains a selection from my writings on Art extending over a period of twenty years. Some essays have never before been published in England; and I have also added a good deal of new matter and made slight corrections throughout.When we look at ancient works of art we habitually treat them not merely as objects of aesthetic enjoyment but also as successive deposits of the human imagination. It is indeed this view of works of art as crystallised history that accounts for much of the interest felt in ancient art by those who have but little aesthetic feeling and who find nothing to interest them in the work of their contemporaries where the historical motive is lacking and they are left face to face with bare aesthetic values. I once knew an old gentleman who had retired from his city office to a country house - a fussy, feeble little being who had cut no great figure in life. He had built himself a house which was preternaturally hideous; his taste was deplorable and his manners indifferent; but he had a dream, the dream of himself as an exquisite and refined intellectual dandy living in a society of elegant frivolity. To realise this dream he had spent large sums in buying up every scrap of eighteenth-century French furniture which he could lay hands on. These he stored in an immense upper floor in his house which was always locked except when he went up to indulge in his dream and to become for a time a courtier at Versailles doing homage to the du Barry, whose toilet-tables and what-nots were strewn pell-mell about the room without order or effect of any kind. Such is an extreme instance of the historical way of looking at works of art. For this old gentleman, as for how many an American millionaire, art was merely a help to an imagined dream life." ...]This book is a reprint of the wonderful work originally published in 1920.

Vision and Design, est un livre classique et a t consid r comme important tout au long de l'histoire de l'humanit . Afin que ce livre ne soit jamais oubli , chez Alpha Editions, nous avons fait des efforts pour le pr server en le r ditant dans un format moderne pour les g n rations pr sentes et futures. Tout ce livre a t reformat , retap et con u. Ces livres ne sont pas constitu s de copies num ris es de leur oeuvre originale et le texte est donc clair et lisible.