Hauser Arnold - Social History of Art, Volume 1
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- Year:1999
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VOLUME I
As much a work of intellectual history as art history, Hauser's work remains unparalleled in its scope as a study of the relations between the forces of social change and western art from its origins until the middle of the 20th century.
Johanna Drucker, Professor of Art History, State University of New York
Harris's introductions to each volumedealing with Hauser's aims, principles, concepts and terms are extremely useful. This edition should bring Hauser's thought to the attention of a new generation of readers.
Whitney Davis, Professor of Art History, Northwestern University
First published in 1951 Arnold Hauser's commanding work presents an account of the development and meaning of art from its origins in the Stone Age through to the Film Age. Exploring the interaction between art and society, Hauser effectively details social and historical movements and sketches the frameworks within which visual art is produced.
This new edition provides an excellent introduction to the work of Arnold Hauser. In his general introduction to The Social History of Art, Jonathan Harris assesses the importance of the work for contemporary art history and visual culture. In addition, an introduction to each volume provides a synopsis of Hauser's narrative and serves as a critical guide to the text, identifying major themes, trends and arguments.
Arnold Hauser was born in Hungary and studied literature and the history of art at the universities of Budapest, Vienna, Berlin and Paris. In 1921 he returned to Berlin to study economics and sociology under Ernst Troeltsch. From 1923 to 1938 he lived in Vienna where he began work on The Social History of Art. He lived in London from 1938 until 1977, when he returned to his native Hungary. He died in Budapest in 1978.
Jonathan Harris is Senior Lecturer in Art History and Critical Theory at the University of Keele. He is the author of Federal Art and National Culture: The Politics of Identity in New Deal America (1995), co-author of Modernism in Dispute: Art Since The Forties (1993) and co-editor of Art in Modern Culture: An Anthology of Critical Texts (1992).
The Social History of Art
Arnold Hauser, with an introduction by Jonathan Harris
Volume IFrom Prehistoric Times to the Middle Ages Volume IIRenaissance, Mannerism, Baroque Volume IIIRococo, Classicism and Romanticism Volume IVNaturalism, Impressionism, The Film Age
VOLUME I
From Prehistoric Times to the Middle Ages
Arnold Hauser
with an introduction by Jonathan Harris
First published in two volumes 1951
This edition published in the Taylor & Francis e-Library, 2005.
To purchase your own copy of this or any of Taylor & Francis or Routledge's collection of thousands of eBooks please go to www.eBookstore.tandf.co.uk.
Third edition 1999
1951, 1962, 1999 The Estate of Arnold Hauser
Introductions 1999 Routledge
Translated in collaboration with the author by Stanley Godman
All rights reserved. No part of this book may be reprinted or reproduced or utilized in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers.
British Library Cataloguing in Publication Data
A catalogue record for this book is available from the British Library
Library of Congress Cataloguing in Publication Data
A catalogue record for this book has been requested
ISBN 0-203-98484-6 Master e-book ISBN
ISBN 0-415-19945-X (Print Edition) (Vol. I)
ISBN 0-415-19946-8 (Print Edition) (Vol. II)
ISBN 0-415-19947-6 (Print Edition) (Vol. III)
ISBN 0-415-19948-4 (Print Edition) (Vol. IV)
ISBN 0-415-21386-X (Set)
Prehistoric naturalism
Art in the service of livelihood
Art and magic
Prehistoric geometrism
Sacred and profane art
Magic and animism
The traditionalism of peasant cultures
Archaeology and anthropology
The emancipation of art as a profession
Peasant art and folk art
Urban culture and art
Political coercion and artistic quality
The priesthood and the royal house as patrons
Art education in the temple and palace workshops
The organization of artistic work
The courtly conventions of Egyptian art
The rationalization of artistic techniques
Frontality
The new sensibility
The stylistic dualism of Egyptian art
The differentiation of style according to subject
Egyptian provincial art
Formalism
Naturalism in the representation of animals
The problem of Cretan art
Formal freedom
Anti-naturalistic conventions
The heroic age and its social ethics
The heroic lay
The origins of the epic
Bards and rhapsodes
The social outlook of the Homeric epics
Hesiod
Geometrism
Aristocratic choral and reflective lyric
Statues of Olympian victors
The beginnings of individualism in poetry and art
The courts of the Tyrants
Cult and art
The autonomy of forms
Classicism and naturalism
The tragedy
The mime
The tragedy as an instrument of political propaganda
Naturalism and stylization in the plastic arts
The cultural ideal of the Sophists
Euripides
Plato and the aestheticism of his time
The rationalization of international scientific and artistic activity
Eclecticism
The production of copies
The origin of the domestic comedy
Roman portrait sculpture
The continuous representation
Late Roman impressionism and expressionism
The social position of poets and artists
The divorce between the artist and the work of art
The art market
Plotinus
Changes in the valuation of art and the artist in Rome
The concept of the Middle Ages
Late classical and early Christian spirituality
The decay of the Roman art tradition
The didactic character of Christian art
The paralysing of private capital by the State
The aristocracy of officials
The ostentatious courtly style and the monastic style
The political and military background of iconoclasm
The fight against the influence of the monks
The stylistic consequences of iconoclasm
The ornamental style of the age of migrations
The miniature painting of the Irish monks
The Frankish monarchy and the new nobility
The shift of the cultural centre from the towns to the countryside
The cultural monopoly of the Church
The court of Charlemagne as cultural centre
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