Space And Time In Artistic Practice And Aesthetics: The Legacy Of Gotthold Ephraim Lessing (international Library Of Modern And Contemporary Art)
by Sarah Lippert /
2017 / English / EPUB
4.1 MB Download
When the Enlightenment thinker Gotthold Ephraim Lessing wrote his
treatise Laocoön: An Essay on the Limits of Painting and Poetry in
1766, he outlined the strengths and weaknesses of each art.
Painting was assigned to the realm of space; poetry to the realm of
time.
When the Enlightenment thinker Gotthold Ephraim Lessing wrote his
treatise Laocoön: An Essay on the Limits of Painting and Poetry in
1766, he outlined the strengths and weaknesses of each art.
Painting was assigned to the realm of space; poetry to the realm of
time.Space and Time in Artistic Practice and Aesthetics
Space and Time in Artistic Practice and Aesthetics
explores how artists since the eighteenth century up to the present
day have grappled with the consequences of Lessing’s theory and
those that it spawned. As the book reveals, many artists have been
- and continue to be – influenced by Lessing-like theories, which
have percolated into the art education and art criticism. Artists
from Jean Raoux to Willem de Kooning and Frances Bacon, and art
critics such as Clement Greenberg, have felt the weight of
Lessing’s theories in their modes of creation, whether consciously
or not. Should we sound the death knell for the theories of Lessing
and his kind? Or will conceptions of temporality, spatiality and
artistic competition continue to unfold? This book - the first to
consider how Lessing’s writings connect to visual art’s production
- brings these questions to the fore.
explores how artists since the eighteenth century up to the present
day have grappled with the consequences of Lessing’s theory and
those that it spawned. As the book reveals, many artists have been
- and continue to be – influenced by Lessing-like theories, which
have percolated into the art education and art criticism. Artists
from Jean Raoux to Willem de Kooning and Frances Bacon, and art
critics such as Clement Greenberg, have felt the weight of
Lessing’s theories in their modes of creation, whether consciously
or not. Should we sound the death knell for the theories of Lessing
and his kind? Or will conceptions of temporality, spatiality and
artistic competition continue to unfold? This book - the first to
consider how Lessing’s writings connect to visual art’s production
- brings these questions to the fore.
