Michael Fried And Philosophy
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Michael Fried and Philosophy
This volume brings philosophers, art historians, intellectual historians, and literary scholars together to argue for the philosophical significance of Michael Fried’s art history and criticism. It demonstrates that Fried’s work on modernism, artistic intention, the ontology of art, theatricality, and anti-theatricality can throw new light on problems in and beyond philosophical aesthetics. Featuring an essay by Fried and articles from world-leading scholars, this collection engages with philosophical themes from Fried’s texts, and clarifies the relevance to his work of philosophers such as Ludwig Wittgenstein, Stanley Cavell, Morris Weitz, Elizabeth Anscombe, Arthur Danto, George Dickie, Immanuel Kant, Friedrich Schiller, G. W. F. Hegel, Arthur Schopenhauer, Friedrich Nietzsche, Denis Diderot, Maurice Merleau-Ponty, Roland Barthes, Jacques Rancière, and Søren Kierkegaard. As it makes a case for the importance of Fried for philosophy, this volume contributes to current debates in analytic and continental aesthetics, philosophy of action, philosophy of history, political philosophy, modernism studies, literary studies, and art theory.
Menzel's Realism
Adolf Menzel was one of the most important German artists of the 19th century, yet he is scarcely known outside his native land. In this study a leading art historian argues that Menzel deserves to be recognized not only as one of the greatest painters and draftsmen of his century but also as a master realist whose work engages profoundly with an extraordinary range of issues - artistic, scientific, philosophical and socio-political. Michael Fried explores Menzel's large and fascinating oeuvre, and in so doing seeks to make the artist's achievement accessible to a wide audience.
Absorption and Theatricality
Author: Michael Fried
language: en
Publisher: University of Chicago Press
Release Date: 1988-09-15
With this widely acclaimed work, Michael Fried revised the way in which eighteenth-century French painting and criticism are viewed and understood. Analyzing paintings produced between 1753 and 1781 and the comments of a number of critics who wrote about them, especially Dennis Diderot, Fried discovers a new emphasis in the art of the time, based not on subject matter or style but on values and effects.