Description
Book SynopsisOur view of modernism in the arts has been shaped by the prominence of painting and, in particular, by a succession of painters working in Paris - from Courbet and Manet to the Cubists. This title offers a singular critical voice challenging us to think differently about modernism.
Trade Review“To the outside world, scholarly activity must often seem exceedingly tedious and of questionable purpose. To those who practice scholarly inquiry, even imperfectly, the prospect of a single mind grasping and engaging its subject with focused intellect can be thrilling. That fascination may explain the revived appreciation of Stokes’s writings as records of his intellectual grappling with meaning in art, critical apprehension, and the creative psyche. The Coral Mind is the latest addition to this published appreciation, a collection of 12 intriguing essays on various aspects of Stokes’s critical inquiry. Guided by honest questions about why and how one reads Stokes today, the essay authors approach the reflections put forth by Stokes from differing perspectives that reveal the complexity of his observations. Stokes’s methods of inquiry do not consistently follow the prevailing theoretical approaches of 20th-century art historical scholarship of iconography, social history, or psychoanalysis, but they converge with all these methodologies in his uniquely subjective response to the space, place, and surface of the art object. Readers who enjoy questioning their own intellectual processes in encounters with created forms will appreciate the mind revealed in these essays. Summing Up: Recommended for graduate students and faculty/researchers.”
—W. S. Bradley Choice
“Guided by honest questions about why and how one reads Stokes today, the essay authors approach the reflections put forth by Stokes from differing perspectives that reveal the complexity of his observations. Stokes’s methods of inquiry do not consistently follow the prevailing theoretical approaches of twentieth-century art historical scholarship of iconography, social history, or psychoanalysis, but they converge with all these methodologies in his uniquely subjective response to the space, place, and surface of the art object. Readers who enjoy questioning their own intellectual processes in encounters with created forms will appreciate the mind revealed in these essays.”
—W. S. Bradley Choice
“Readers who enjoy questioning their own intellectual processes in encounters with created forms will appreciate the mind revealed in these essays.”
—W.S. Bradley Choice
Table of ContentsContents
List of Illustrations
Bibliographical Note
Introduction
Stephen Bann
1. Stokes and the Architectural Basis of the Sculptural
Alex Potts
2. “A Deep and Necessary Commerce”: Venice and the “Architecture of Colour-Form”
Stephen Kite
3. “The House of the Mind”: On Piero, Perspective, and Psychoanalysis
Peter Leech
4. “We Are Exalted”: Adrian Stokes’s Coming to Terms with Michelangelo’s Massiveness
David Hulks
5. Stokes’s Analysis
Richard Read
6. Portrait of an Analyst: Adrian Stokes and Melanie Klein
Lyndsey Stonebridge
7. Healing Art—Healing Stokes
Janet Sayers
8. “Showing Openly the Inside of Action”: Place, Ballet, Psychoanalysis
Martin Golding
9. The Art Historian as Art Critic: In Praise of Adrian Stokes
David Carrier
10. “Inferential Muscle” and the Work of Criticism: Michael Baxandall on Adrian Stokes and Art-Critical Language
Paul Tucker
11. To Bring the Distant Things Near: Distance in Relation to the Work of Art in Stokes’s Thought
Étienne Jollet
12. Stones of Solace
Michael Ann Holly
Index
