Arnold Hauser (1892–1978)
Auteur de The Social History of Art [complete]
A propos de l'auteur
Notice de désambiguation :
(eng) "The Social History of Art" has been variously published in anything from 1 to 4 volumes - so please be careful about combining any individual volumes.
Séries
Œuvres de Arnold Hauser
Mannerism: The Crisis of the Renaissance and the Origin of Modern Art (Paperbacks in Art History) (1964) 61 exemplaires
Sociologia dell'arte. 1. Teoria generale 2 exemplaires
Storia sociale dell'arte. Volume primo. Preistoria, Antichità, Medioevo, Rinascimento, Manierismo, Barocco 2 exemplaires
Origen de la literatura y del arte modernos, Vol. 1: El Manierismo, crisis del Renacimiento (1982) 2 exemplaires
Social History of Art, Volume 1: From Prehistoric Times to the Middle Ages: From Prehistoric Times to the Middle Ages… 2 exemplaires
Művészet és irodalom társadalomtörténete 2 exemplaires
Introduccion a la História del Arte 2 exemplaires
O conceito de Barroco 2 exemplaires
origen de la literatura y el arte modernos 1 exemplaire
Społeczna historia sztuki i literatury. [T.] 1 1 exemplaire
Sozialgeschichte der Kunst und Literatur 2 (1953) 1 exemplaire
Literatura y manierismo 1 exemplaire
3. : Arte popolare, di massa e d'avanguardia 1 exemplaire
Historia social de la literatura y el arte tomo II 1 exemplaire
Hauser Arnold 1 exemplaire
A művészet és az irodalom társadalomtörténete 1 exemplaire
Művészet és az irodalom társadalomtörténete 2. kötet 1 exemplaire
Κοινωνική ιστορία της τέχνης 1 exemplaire
Sozialgeschichte der Mittelalterlichen Kunst 1 exemplaire
Sozialgeschichte der Kunst und Literatur 1 1 exemplaire
The Social History of Art, Vols. 1, 3, 4 1 exemplaire
Społeczna historia sztuki i literatury. [T.] 2 1 exemplaire
Konstarternas sociala historia 1 1 exemplaire
Kala Ka Itihas Darshan 1 exemplaire
Oeuvres associées
Étiqueté
Partage des connaissances
- Nom canonique
- Hauser, Arnold
- Date de naissance
- 1892-05-08
- Date de décès
- 1978-01-28
- Sexe
- male
- Nationalité
- Austro-Hungarian Empire (birth)
Hungary
Germany
UK (naturalized 1948) - Lieu de naissance
- Timişoara, Austria-Hungary
- Lieu du décès
- Budapest, Hungary
- Lieux de résidence
- Berlin, Germany
Vienna, Austria
Waltham, Massachusetts, USA
London, England, UK
Leeds, Yorkshire, England, UK - Études
- University of Budapest (Ph.D|1918)
- Professions
- art historian
film historian
author
professor of art history - Relations
- Mannheim, Karl (friend, colleague)
Lukács, György (colleague) - Organisations
- University of Leeds
Brandeis University
Sonntagskreis - Courte biographie
- Arnold Hauser was born to a Jewish family in Temesvár, Hungary, then part of the Austro-Hungarian Empire (present-day Timișoara, Romania). He went to the Universities of Vienna, Berlin, Paris, and Budapest to study German and Romance languages. In 1916, Hauser became a co-founder of the Sonntagskreis (Sunday Circle), an intellectual discussion group, along with his friend Karl Mannheim, György Lukács, Béla Bartók, and others. In 1918 Hauser received his doctorate at the University of Budapest. He studied fine art in Italy and in 1921 moved to Berlin, where he attending the lectures of Adolph Goldschmidt and historian Ernst Troeltsch. In 1924, he moved at the request of his wife to Vienna, where he explored the new art of film and was a freelance writer. He was a member of the Austrian Film Censorship Advisory Board from 1933 to 1936 and a docent of Film Theory and Technology at the Vienna Volkshochschule. In 1938, following Nazi Germany's Anschluss (annexation) of Austria, the Hausers fled to England. There he wrote essays on film for the periodicals Life and Letters Today and Sight and Sound. Over the next 10 years, Hauser wrote his monumental Sozialgeschichte der Kunst und Literatur, a survey in Marxist terms published in English as The Social History of Art (1951). The publication of the first volume was his entry into the academic world. He became a visiting professor at the University of Leeds and worked on volume two of the Social History, as well as another book, The Philosophy of Art History (1958). After Theodor Adorno invited him to lecture in Frankfurt, numerous other universities extended invitations to him. While a professor at art history at Brandeis University in Waltham, Massachusetts in 1957-1959, Hauser wrote a history of Mannerism (published 1964). He returned to England in 1959 to lecture at Hornsey College of Art in London. He published the third and final volume of The Social History while serving as guest professor at the University of Ohio. Shortly before his death in 1978, Hauser returned to Budapest as an honorary member of the Hungarian Academy of Science.
- Notice de désambigüisation
- "The Social History of Art" has been variously published in anything from 1 to 4 volumes - so please be careful about combining any individual volumes.
Membres
Critiques
Teorias del arte par Arnold Hauser
Librería 5. Estante 6.
I saggi raccolti in questo volume vogliono indagare in qual modo la riflessione :.nella storia dell'arte abbia affrontato problemi di metodologia e di critica via via avanzati dallo sviluppo storico.
Hauser si prefigge i] compito (li studiare alcune categorie di giudizio, dedotte e confrontate con il contesto concreto dei fatti artistici nel loro divenire, cosi da riesaminare ogni volta i concetti-base alla luce delle singole esperienze, e di talune idee fondamentali di storia, di sviluppo~ di contesto. La natura del processo artistico dimostra quanto sia indispensabile un approccio sociologico, ma lo schema sociologico della dialettica storica è ora sottoposto a una discussione sui limiti e le reali possibilità. Di qui un allargamento della proposta metodologica alle indagini psicoanalitiche, a una definizione filosofica, alle proposte della cultura popolare e di massa, allo studio del ruolo delle convenzioni in sede storica.
Di qui una essenziale e serrata dimostrazione sui dati concreti della storia dell'arte, in modo speciale dal romanticismo ad oggi.… (plus d'informations)
Hauser si prefigge i] compito (li studiare alcune categorie di giudizio, dedotte e confrontate con il contesto concreto dei fatti artistici nel loro divenire, cosi da riesaminare ogni volta i concetti-base alla luce delle singole esperienze, e di talune idee fondamentali di storia, di sviluppo~ di contesto. La natura del processo artistico dimostra quanto sia indispensabile un approccio sociologico, ma lo schema sociologico della dialettica storica è ora sottoposto a una discussione sui limiti e le reali possibilità. Di qui un allargamento della proposta metodologica alle indagini psicoanalitiche, a una definizione filosofica, alle proposte della cultura popolare e di massa, allo studio del ruolo delle convenzioni in sede storica.
Di qui una essenziale e serrata dimostrazione sui dati concreti della storia dell'arte, in modo speciale dal romanticismo ad oggi.… (plus d'informations)
A leading Marxist of his time, Hungarian art historian Arnold Hauser (1892-1978) reflected deeply and wrote extensively on how changes in society and social institutions and organizations influence art. “The Philosophy of Art History” is a collection of six detailed essays where the author addresses such topics as psychoanalysis and art, the concept of art history, folk art and popular art, and the sociology of art. As a way of providing a taste of what a reader will discover in these pages, I will include quotes along with my comments on this last topic, the sociology of art, specifically outlined in Hauser’s first essay, “Introduction: The Scope and Limitations of a Sociology of Art.”
“A work of art is a challenge; we do not explain it, we adjust ourselves to it.” ---------- The author makes an excellent point, one fundamental requirement: we resist the urge on first viewing to “explain” the work of art in terms of our preconceived notions or categories; rather, we accept the challenge the work of art offers and permit ourselves to become vulnerable in our encounter and let the art speak to us and possibly even move us.
“In interpreting a work of art, we draw upon our own aims and endeavors, inform it with a meaning that has its origin in our own ways of life and thought. In a word, any art that really affects us becomes to that extent modern art.” ---------- For example, if we read “Crime and Punishment,” we color the novel -- plot, characters, events, language-- with our own specific memories and experiences; in a way, Dostoyevsky’s work becomes our “Crime and Punishment,” and thus, a 21st century novel! Same applies to a cubist painting of Picasso or a Symphony of Mozart. Personally, I find this way of looking at art a particularly creative approach.
“We are now living in the day of the sociological interpretation of cultural achievements. This day will not last forever, and it will not have the last word.” ---------- Very humble statement from a man who spent his entire professional life studying and writing on the sociological context of art and culture. And what the author says is true: thousands of articles, reviews and books have been written evaluating artists and writers in the context of her or his society, culture, epoch; true today as it was true back in 1958 when Arnold Hauser penned these words. However, like anything else, if it takes 10 years, 100 years or 1,000 years, our current methods of evaluating art will change.
“But the exponents of the theory “art for art’s sake” maintain that any reference to actualities beyond the work of art must irretrievably destroy its aesthetic illusion. That may be correct, and yet this aesthetic illusion is not all, to produce it is not the exclusive or the most important aim of the artistic endeavor.” ---------- Let’s take an obvious example: a war memorial where the intention of the organization funding the work is to commemorate and memorialize those who participated in the war. Certainly, the war memorial might have an aesthetic appeal, it might even be beautiful (I personally find the Vietnam Veterans Memorial in Washington to be of high aesthetic quality), but this is not the war memorial’s primary reason for being. However, pertaining to claims of “art for art’s sake," I think it wise to evaluate such claims one work at a time.
“If we do not know or even want to know the aims that the artist was pursuing through his work – his aim to inform, to convince, to influence people – then we do not get much farther in understanding his art than the ignorant spectator who judges a football game simply by the beauty of the players’ movement.” ---------- Such a statement can be tricky. Let’s take the World Cup – when a team fails to score and loses, that country’s players, coaches and fans are disappointed, no matter how beautiful the players' movements. But, if we look at a Cirque du Soleil performance, the dynamics are not at all the same - acrobats and dancers perform successfully when all their movements are beautiful; there are no ends beyond the beauty of perfectly executed movement. The point being, in some art and performance, we need not concern ourselves with the artist’s aim beyond the art or performance itself.
“Every honest attempt to discover the truth and depict things faithfully is a struggle against one’s own subjectivity and partiality, one’s individual and class interests; one can seek to become aware of these as a source of error, while realizing that they can never be finally excluded.” ---------- Again, this can be tricky. For example: Karl Ove Knausgaard leans heavily on his own subjective experience, matter of fact, his experience is the juice of his writing – rather than attempting to exclude his feelings and individuality, he mines his feelings and individuality as the very subject of his novels.
“It is no more than an idle dream to suppose that social justice and artistic worth in any way coincide, that one can draw any conclusion with regard to the aesthetic success or failure of a work of art from the social conditions under which it has been produced.” ---------- How true! A free, open society does not necessarily produce all great or even good artists and writers; a oppressive, unfree “bad” society does not necessarily produce all bad artists and writers. Case in point: “One Day in the Life of Ivan Denisovich” by Aleksandr Solzhenitsyn.
… (plus d'informations)
detto anche l' Hauser, in un gergo tra il familiare e il settario che, giovani intellettuali con la puzzetta sotto il naso, usavamo per riferirci a una delle nostre pietre miliari. Se l'affabulatore Gombrich (senza articolo) ci raccontava storie affascinanti di uomini che riuscivano a parlare con noi da lontananze soprendenti l'Hauser, più severo, ci introduceva alla dimensione sociale della produzione artistica, altra folgorazione che gli studi scolastici non ci avevano lasciato sospettare. Ma si sa, erano tempi in cui la parola sociale pervadeva le nostre vite e le nostre coscienze...… (plus d'informations)
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Statistiques
- Œuvres
- 56
- Aussi par
- 3
- Membres
- 1,568
- Popularité
- #16,461
- Évaluation
- 3.8
- Critiques
- 21
- ISBN
- 143
- Langues
- 10