Now updated to include the results of new research, together with significant contributions from the 1990s. Includes writings by critics, philosophers, politicians and literary figures. The editors provide contextual introductions to 340 texts. Complements Art in Theory, 1648–1815 and Art in Theory, 1815–1900 to create a complete survey of the theories underpinning the development of art in the modern period.

    "A Christian should use these arts to the glory of God, not just as tracts, mind you, but as things of beauty to the praise of God." Many Christians, wary of creating graven images, have steered clear of artistic creativity. But the Bible offers a robust affirmation of the arts. The human impulse to create reflects our being created in the image of a creator God. Art and the Bible has been a foundational work for generations of Christians in the arts. In this book's classic essays, Francis Schaeffer first examines the scriptural record of the use of various art forms, and then establishes a Christian perspective on art. With clarity and vigor, Schaeffer explains why "the Christian is the one whose imagination should fly beyond the stars.

    More than 250 color photos.

    Such is the effect of these essays, a series given as lectures at the National Gallery in 1973. Mr. Barzun examines art as religion, as destroyer, as redeemer, and in relation to what he calls "its temper, science," but never forgets the basic essential. As he says, "the last word on art should indeed be: mystery. But that need not stop any of us from dealing with it as if we understood more than we can." And how good it is to have one's mind stretched to that understanding of "more.""--Virginia Quarterly Review

    Culture wars and increasingly partisan conflicts have reduced public discourse to shouting matches between ideologues. But rather than merely bemoaning the vulgarity and sloganeering of this era, says acclaimed author and editor Gregory Wolfe, we should seek to enrich the language of civil discourse. And the best way to do that, Wolfe believes, is to draw nourishment from the deepest sources of culture: art and religious faith.Wolfe has been called “one of the most incisive and persuasive voices of our generation,” and this penetrating and wide-ranging book makes a powerful case for the importance of beauty and imagination to cultural renewal. He begins by tracing his own journey from a young culture warrior bent on attacking the modern world to a career devoted to nurturing the creation of culture through contemporary literature and art that renew the Western tradition. Along the way, Wolfe finds in Renaissance Christian humanists like Erasmus and Thomas More—and their belief that imagination and the arts are needed to offset the danger of ideological abstractions— a “distant mirror” in which to see our own times.Beauty Will Save the World offers a revealing introduction to the artists and thinkers who are the Christian humanists of the modern era, from well-known figures like Evelyn Waugh and Wendell Berry to lesser-known authors like Shusaku Endo, Andrew Lytle, and Geoffrey Hill. A section on visual artists Mary McCleary, Fred Folsom, and Makoto Fujimura (accompanied by reproductions of their works) demonstrates that there are artists who can reimagine the Western tradition in strikingly contemporary terms. Finally, Wolfe pays tribute to the conservative thinkers who served as his mentors: Russell Kirk, Gerhart Niemeyer, Marion Montgomery, and Malcolm Muggeridge— all of whom rejected rigid ideology and embraced culture and tradition.At a time when our public discourse has come to be dominated by warring factions with little regard for truth, Wolfe’s affirmation of beauty as a redemptive force is both refreshing and encouraging.

    In order to understand both the spirit of Tradition and its antithesis, modern civilization, it is necessary to begin with the fundamental doctrine of the two natures. According to this doctrine there is a physical order of things and a metaphysical one; there is a mortal nature and an immortal one; there is the superior realm of "being" and the inferior realm of "becoming." Generally speaking, there is a visible and tangible dimension and, prior to and beyond it, an invisible and intangible dimension that is the support, the source, and the true life of the former." -- from chapter one. With unflinching gaze and uncompromising intensity Julius Evola analyzes the spiritual and cultural malaise at the heart of Western civilization and all that passes for progress in the modern world. As a gadfly, Evola spares no one and nothing in his survey of what we have lost and where we are headed. At turns prophetic and provocative, Revolt against the Modern World outlines a profound metaphysics of history and demonstrates how and why we have lost contact with the transcendent dimension of being. The revolt advocated by Evola does not resemble the familiar protests of either liberals or conservatives. His criticisms are not limited to exposing the mindless nature of consumerism, the march of progress, the rise of technocracy, or the dominance of unalloyed individualism, although these and other subjects come under his scrutiny. Rather, he attempts to trace in space and time the remote causes and processes that have exercised corrosive influence on what he considers to be the higher values, ideals, beliefs, and codes of conduct--the world of Tradition--that are at the foundation of Western civilization and described in the myths and sacred literature of the Indo-Europeans. Agreeing with the Hindu philosophers that history is the movement of huge cycles and that we are now in the Kali Yuga, the age of dissolution and decadence, Evola finds revolt to be the only logical response for those who oppose the materialism and ritualized meaninglessness of life in the twentieth century. Through a sweeping study of the structures, myths, beliefs, and spiritual traditions of the major Western civilizations, the author compares the characteristics of the modern world with those of traditional societies. The domains explored include politics, law, the rise and fall of empires, the history of the Church, the doctrine of the two natures, life and death, social institutions and the caste system, the limits of racial theories, capitalism and communism, relations between the sexes, and the meaning of warriorhood. At every turn Evola challenges the reader's most cherished assumptions about fundamental aspects of modern life.

    The highly readable texts and over 800 beautiful full-color images come together in a unique way to convey hidden dimensions of meaning. Each of the ca. 350 essays examines a given symbol’s psychic background, and how it evokes psychic processes and dynamics. Etymological roots, the play of opposites, paradox and shadow, the ways in which diverse cultures have engaged a symbolic image—all these factors are taken into consideration.Authored by writers from the fields of psychology, religion, art, literature, and comparative myth, the essays flow into each other in ways that mirror the psyche’s unexpected convergences. There are no pat definitions of the kind that tend to collapse a symbol; a still vital symbol remains partially unknown, compels our attention and unfolds in new meanings and manifestations over time. Rather than merely categorize, The Book of Symbols illuminates how to move from the visual experience of a symbolic image in art, religion, life, or dreams to directly experiencing its personal and psychological resonance.The Book of Symbols sets new standards for thoughtful exploration of symbols and their meanings, and will appeal to a wide range of readers: artists, designers, dreamers and dream interpreters, psychotherapists, self-helpers, gamers, comic book readers, religious and spiritual searchers, writers, students, and anyone curious about the power of archetypal images.

    However, Burke's analysis of the relationship between emotion, beauty, and art form is now recognized as not only an important and influential work of aesthetic theory, but also one of the first major works in European literature on the Sublime, a subject that has fascinated thinkers from Kant and Coleridge to the philosophers and critics of today.

    Gestalt theory and the psychology of visual perception form the basis for an analysis of art and its basic elements.

    It is both an introduction to the study of art and, for those with more specialized interests, a profound discussion of art and life in the Middle Ages and Renaissance. Panofsky's historical technique reveals an abundance of detail, detail he skillfully relates to the life and work of individual painters and their times. The papers in this volume represent a cross-section of Panofsky's major work. Included are selections from his well-known Studies in Iconology and The Life and Art of Albrecht Dürer, plus an introduction and an epilogue—"The History of Art as a Humanistic Discipline" and "Three Decades of Art History in the United States: Impressions of a Transplanted European"—as well as pieces written especially for this collection. All display Panofsky's vast erudition and deep commitment to a humanistic conception of art and art history.

    An analysis of the medium in terms of aesthetics, science and politics provided him with new ways of understanding both the cultural crises of the past and the new social forms nascent within them. Flusser showed how the transformation of textual into visual culture (from the linearity of history into the two-dimensionality of magic) and of industrial into post-industrial society (from work into leisure) went hand in hand, and how photography allows us to read and interpret these changes with particular clarity.

    Serving as both an introduction to fifteenth-century Italian painting and as a text on how to interpret social history from the style of pictures in a given historical period, this new edition to Baxandall's pre-eminent scholarly volume examines early Renaissance painting, and explains how the style of painting in any society reflects the visual skills and habits that evolve out of daily life. Renaissance painting, for example, mirrors the experience of such activities as preaching, dancing, and gauging barrels. The volume includes discussions of a wide variety of painters, including Filippo Lippi, Fra Angelico, Stefano di Giovanni, Sandro Botticelli, Masaccio, Luca Signorelli, Boccaccio, and countless others. Baxandall also defines and illustrates sixteen concepts used by a contemporary critic of painting, thereby assembling the basic equipment needed to explore fifteenth-century art.

    In On Beauty and Being Just Elaine Scarry not only defends beauty from the political arguments against it but also argues that beauty does indeed press us toward a greater concern for justice. Taking inspiration from writers and thinkers as diverse as Homer, Plato, Marcel Proust, Simone Weil, and Iris Murdoch as well as her own experiences, Scarry offers up an elegant, passionate manifesto for the revival of beauty in our intellectual work as well as our homes, museums, and classrooms.Scarry argues that our responses to beauty are perceptual events of profound significance for the individual and for society. Presenting us with a rare and exceptional opportunity to witness fairness, beauty assists us in our attention to justice. The beautiful object renders fairness, an abstract concept, concrete by making it directly available to our sensory perceptions. With its direct appeal to the senses, beauty stops us, transfixes us, fills us with a surfeit of aliveness. In so doing, it takes the individual away from the center of his or her self-preoccupation and thus prompts a distribution of attention outward toward others and, ultimately, she contends, toward ethical fairness.Scarry, author of the landmark The Body in Pain and one of our bravest and most creative thinkers, offers us here philosophical critique written with clarity and conviction as well as a passionate plea that we change the way we think about beauty.

    Bachelard takes us on a journey, from cellar to attic, to show how our perceptions of houses and other shelters shape our thoughts, memories, and dreams."A magical book. . . . The Poetics of Space is a prism through which all worlds from literary creation to housework to aesthetics to carpentry take on enhanced-and enchanted-significances. Every reader of it will never see ordinary spaces in ordinary ways. Instead the reader will see with the soul of the eye, the glint of Gaston Bachelard." -from the new foreword by John R. Stilgoe

    Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.