Six essays, available here for the first time in English, present an overview of the German movement of psychological aesthetics, Kunstwissenschaft. Written at the end of the 19th century these works redesigned the theoretical basis of artistic practice.
With this text--published here for the first time in English--Sigfried Giedion positioned himself as an eloquent advocate of modern architecture, exalting Le Corbusier as the artistic champion of the new movement.
This series offers a range of heretofore unavailable writings in English translation on the subjects of art, architecture, and aesthetics. Hubsch's argument that the technical progress and changed living habits of the nineteenth century rendered neoclassical principles antiquated is presented here along with responses to his essay by architects, historians, and critics over two decades.
In The Group Portraiture of Holland, art historian Alois Riegl (1858-1905) argues that the artists of sixteenth- and seventeenth-century Holland radically altered the beholders relationship to works of art. Group portraits by artists such as Rembrandt and Frans Halls reflect an egalitarian viewpoint not found in the more hierarchically structured Italian works of the same period.
The writings of graphic designer, prolific critic, and avant-garde partisan Karel Teige (1900-1951) represent one of the great forgotten legacies of modern artistic theory. Appearing now for the first time in English as Modern Architecture in Czechoslovakia, Teige's original work is supplemented here by a selection of his other writings on art and architecture.
Published in 1765, Giovanni Battista Piranesi's Osservazioni is an impassioned defense of the superiority of Roman architectural "invention" over the "beautiful and noble simplicity" of ancient Greece. In this three-part polemical masterpiece, the famed engraver and designer not only contends that the Etruscans-not the Greeks-were the artistic mentors of the Romans but also argues for a Roman-inspired exuberance in design that draws freely on all forms and traditions of ancient art.
Jean-Nicolas-Louis Durand Durand (1760-1834) regarded the Précis of the Lectures on Architecture (1802-5) and its companion volume, the Graphic Portion (1821), as both a basic course for future civil engineers and a treatise. Now published in English for the first time, the Précis and the Graphic Portion are classics of architectural education.
This series offers a range of heretofore unavailable writings in English translation on the subjects of art, architecture, and aesthetics. Wagner's manifesto is a plea for an end to architectural eclecticism and for a more rational approach to design suited to contemporary life.
This text on German architectural theory, written in 1923, sought to clarify the ideals and complexities of German modernism - especially the distinction between functionalism, rationalism, and utilitarianism.
Carl Gustav Carus (1789-1869)--court physician to the king of Saxony--was a naturalist, amateur painter, and theoretician of landscape painting whose Nine Letters on Landscape Painting is an important document of early German romanticism and an elegant appeal for the integration of art and science.
Style-Architecture and Building-Art is Hermann Muthesius classic criticism of nineteenth century architecture. Now published for the first time in English, this pivotal text represents the first serious effort by Muthesius to define the elements of early modernist architecture according to notions of realism and simplicity.
Hendrik Petrus Berlage, the Dutch architect and architectural philosopher, created a series of buildings and a body of writings from 1886 to 1909 that were among the first efforts to probe the problems and possibilities of modernism. Although his Amsterdam Stock Exchange, with its rational mastery of materials and space, has long been celebrated for its seminal influence on the architecture of the 20th century, Berlage's writings are highlighted here.
Bibliophile, scholar, founder of what would become the Warburg Institute, Aby Warburg ranks as one of the most original and brilliant art historians of this century. Warburg looked beyond iconography to more psychological aspects of artistic creation, and in particular he contemplated the meaning of the re-use of ancient motifs.
This book--Behrendt's principle theoretical work in German and the precursor to Modern Building--presents a revisionist concept of style that places equal emphasis on form and function. Here, Behrendt calls for architects to return to basic geometries and to articulate explicitly the new social and economic realities. Now available in English for the first time, this incisive treatise boldly advocates international modernism to the general public.
Here the second edition of Les ruines is published in English for the first time, framed by Robin Middleton's sweeping exposition of both the intellectual milieu out of which Le Roy's work emerged and the controversies it generated.