Art Criticism - The State University of New York

More documents

Recommendations

Info

4 Art Criticism
Table of Contents Breaking the Picture Plane: Reflections on Painting . John Hultberg 6 The Femme Fatale as Seen in the work of J.K. Huysmans, Feliden Rops and Aubrey Beardsley Sarah Bielski 46 GuiltBy Association: Gustave Moreau, The Unwilling Decadent Mary Cullinane 55 Degeneration in World War IT Germany Kempton Mooney 73 From Diagnoses to Decadence: A Brief History of Hysteria Kristen Oelrich 86 Recasting the Art History Survey: Ethics and Truth in the Oassroom Community Michael Schwartz 104 vol. 17, no. 1 5
Page 1: Volume 17; Number I ART C.RIT1C1SM
Page 4 and 5: Art Department State University of
Page 8 and 9: Breaking the Picture Plane: Reflect
Page 10 and 11: whale saga (more recently Hesse or
Page 12 and 13: and many of whom were born in Europ
Page 14 and 15: printed a bullet track fired into a
Page 16 and 17: music that (like the Mona Lisa) has
Page 18 and 19: causing by neglect a bitterness amo
Page 20 and 21: preserved some of the exuberance th
Page 22 and 23: which inspiration was stabilized. 5
Page 24 and 25: pain in the eyes of the cripple giv
Page 26 and 27: Bruckner did in his music) was not
Page 28 and 29: mortify into hard edges and mushy c
Page 30 and 31: with the sleep of reason. In the Am
Page 32 and 33: cent. Its fluidity of happy acciden
Page 34 and 35: And yet I can imagine these atrocit
Page 36 and 37: erature the not very evocative work
Page 38 and 39: maiden" of Marxism (unless things g
Page 40 and 41: ic he realize that artists suddenly
Page 42 and 43: The little nonsense that wise men r
Page 44 and 45: desensitized by the imitated means
Page 46 and 47: symbolism? If the arts only exist t
Page 48 and 49: The Femme Fatale as seen in the wor
Page 50 and 51: Huysmans parallels the life of De R
Page 52 and 53: ask for the unreasonable and receiv
Page 54 and 55: ennui or physical distress leads th
Page 56 and 57:
ences cited herein, the femme fatal
Page 58 and 59:
period."2 He traced the tradition b
Page 60 and 61:
suggestion to the artist and the po
Page 62 and 63:
of Moreau's works is vague and myst
Page 64 and 65:
ing her as the femme fatale, or sub
Page 66 and 67:
The subtitle Satanic Decameron evok
Page 68 and 69:
completely mythical. Coupled with a
Page 70 and 71:
Moreau was very much a man of his t
Page 72 and 73:
themes and images are often decaden
Page 74 and 75:
p. 7-8; cited in Pierre Louis Mathi
Page 76 and 77:
Between World War I and World War I
Page 78 and 79:
shown distrust in the new styles. T
Page 80 and 81:
These passages were meant to help g
Page 82 and 83:
man public was voicing disapproval
Page 84 and 85:
y old masters that were more suitab
Page 86 and 87:
Notes 1 Alfred Barr, "Art in the Th
Page 88 and 89:
From Diagnoses to Decadence: A Brie
Page 90 and 91:
ate effort to reproduce fully an im
Page 92 and 93:
patients. Charcot was often to be f
Page 94 and 95:
Breuer attributed the presence of A
Page 96 and 97:
still is traditionally associated w
Page 98 and 99:
is not always recognized as such. H
Page 100 and 101:
generation on which the multitude o
Page 102 and 103:
2 Elaine Showalter, The Female Mala
Page 104 and 105:
36 Freud and Breuer, 37. 37 Su'ch a
Page 106 and 107:
Recasting the Art History Survey: E
Page 108 and 109:
mode of self-consciousness that bes
Page 110 and 111:
student-as-Other "calls" us to teac
Page 112 and 113:
thesis of such descriptions into an
Page 114 and 115:
In this final section of the essay,
Page 116 and 117:
image-world, the picture opens up a
Page 118 and 119:
history must itself be rethought in
Page 120 and 121:
15 Two of the most prominent propon
Page 122 and 123:
power: from the premodern exercise
Page 124:
~fJed in the Unikd Smtc, .• 9 ~]~
show all

Art Criticism - The State University of New York

Create successful ePaper yourself

Delete template?

Save as template?