Read e-book online A Companion to British Art: 1600 to the Present PDF

By Dana Arnold, David Peters Corbett

ISBN-10: 1118313763

ISBN-13: 9781118313763

This spouse is a suite of newly-commissioned essays written by way of prime students within the box, delivering a finished advent to British paintings history.

• A generously-illustrated selection of newly-commissioned essays which supplies a entire creation to the heritage of British art
• Combines unique learn with a survey of present scholarship and the country of the field
• Touches in general of the background of British artwork, from 800-2000, with expanding awareness paid to the classes after 1500
• offers the 1st complete advent to British paintings of the eighteenth, 19th, and 20th centuries, essentially the most full of life and leading edge components of art-historical study
• provides intensive the foremost preoccupations that experience emerged from fresh scholarship, together with aesthetics, gender, British art’s dating to Modernity, nationhood and nationality, and the associations of the British paintings world

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The chapter begins by briefly encountering Alfred Jarry’s terroristic theater and narrative: specifically the play Ubu Roi and the novel The Exploits and Opinions of Doctor Faustroll, Pataphysician, both of which prominently feature spirals of this new, destructive type, and both of which were acknowledged by Italian Futurists as important precursors. My focus then turns to some of the key writings and visual art of Futurism, in which spirals occupy a powerful position in articulating both speed and potentiality—ideas that for the Futurists are by no means to be confined to the aesthetic sphere but are by their very nature imbricated in the political sphere.

A B R I EF H I STO RY O F S P I RA L S 41 þþþ To read twentieth-century spirals in literature and visual art as images thus involves what Shoshana Felman once called “turning the screw of interpretation”38—turning it both in toward itself to observe its own torsions and out to the “globe” to try to take stock of how specific spirals, in their makers’ desire to combine language and visual media, assert their relation to the geopolitical. To trace this double movement, and to see what it produces, is the rest of this book’s responsibility.

19 Indeed, the image of the spiral became so pervasive in Leninism—one could claim (as Vladimir Tatlin does, following Lenin) that the spiral embodies the very idea of “revolution”—that by the middle of the twentieth century, Ralph Ellison, in his Cold War novel Invisible Man, would have his Marxism-weary protagonist warn: “Beware of those who speak of the spiral of history. [T]hey are preparing a boomerang. ”20 That historical “development” could be viewed both organically and mechanistically as taking the shape of a spiral is addressed and problematized by the self-proclaimed “philosopher with a hammer,” Friedrich Nietzsche, later in the nineteenth century, in his evocation of eternal recurrence (ewige Wiederkehr).

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A Companion to British Art: 1600 to the Present by Dana Arnold, David Peters Corbett

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