This elegant and theoretically informed book, illustrated with forty-five photographs, explores the cultural significance of six exhibitions or new museum installations, all opening in Paris between mid-1937 and early 1938: the commercially oriented world's fair titled L'Exposition Internationale des Art et Techniques; the historical Musee des Monuments Francais; the ethnographic Musee de l'Homme; two massive art retrospectives, one sponsored by the state of France and the other by the municipality of Paris; and L'Exposition Internationale du Surrealisme.James D. Herbert capitalizes on the...
This elegant and theoretically informed book, illustrated with forty-five photographs, explores the cultural significance of six exhibitions or new mu...
No pictorial device in nineteenth-century French painting more clearly represented the free-ranging self than the loose brushstroke. From the romantics through the impressionists and post-impressionists, the brushstroke bespoke autonomous artistic individuality and freedom from convention. Yet the question of how much we can credit to the individual brushstroke is complicated and inBrushstroke and Emergence, James D. Herbert uses that question as a starting point for an extended essay that draws on philosophy of mind, the science of emergence, and art history. Brushstrokes, he...
No pictorial device in nineteenth-century French painting more clearly represented the free-ranging self than the loose brushstroke. From the romantic...
