Description

Long recognized as one of the most important 18th-century works on the aesthetics of the visual arts, Johann Gottfried Herder's "Plastik" ("Sculpture", 1778) has never before appeared in a complete English translation. In this landmark essay, Herder combines rationalist and empiricist thought with a wide range of sources - from the classics to Norse legend, Shakespeare to the Bible - to illuminate the ways we experience sculpture. Standing on the fault line between classicism and romanticism, Herder draws most of his examples from classical sculpture, while nevertheless insisting on the historicity of art and the senses themselves. Through a detailed analysis of the differences between painting and sculpture, he develops a powerful critique of the dominance of vision both in the appreciation of art and in our everyday apprehension of the world around us. Jason Gaigers translation of "Sculpture" includes an extensive introduction to Herder's thought and illustrations of all the sculptures discussed in the text.

Sculpture: Some Observations on Shape and Form from Pygmalion's Creative Dream

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Paperback / softback by Johann Gottfried Herder , Jason Gaiger

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Long recognized as one of the most important 18th-century works on the aesthetics of the visual arts, Johann Gottfried Herder's... Read more

    Publisher: The University of Chicago Press
    Publication Date: 15/10/2002
    ISBN13: 9780226327556, 978-0226327556
    ISBN10: 0226327558

    Number of Pages: 141

    Non Fiction , Art & Photography

    Description

    Long recognized as one of the most important 18th-century works on the aesthetics of the visual arts, Johann Gottfried Herder's "Plastik" ("Sculpture", 1778) has never before appeared in a complete English translation. In this landmark essay, Herder combines rationalist and empiricist thought with a wide range of sources - from the classics to Norse legend, Shakespeare to the Bible - to illuminate the ways we experience sculpture. Standing on the fault line between classicism and romanticism, Herder draws most of his examples from classical sculpture, while nevertheless insisting on the historicity of art and the senses themselves. Through a detailed analysis of the differences between painting and sculpture, he develops a powerful critique of the dominance of vision both in the appreciation of art and in our everyday apprehension of the world around us. Jason Gaigers translation of "Sculpture" includes an extensive introduction to Herder's thought and illustrations of all the sculptures discussed in the text.

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