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International and up to date, this extensively illustrated and cross-referenced dictionary provides information on over 2500 artists, paintings, sculptures, drawings, prints, schools and movements, including unique information on contemporary art and artists, and on techniques, materials and. Includes over 200 new entries.

Analyzes the development of art during the past decade paying special attention to the works of Mondrian, Arp, Newman, and Dubuffet

Drawing on the philosophies of art developed by the continental authors and studies of Anglo-American philosophers, this book presents a panorama of the philosophy of art. It discusses definitions offered from the analytical school including Arthur Danto's representationalism, Dipert's theories of artefactualism, Dickie's institutional and procedural theories and Levinson's historical and cultural theories. From the continental theories it reflects on Hegel's notion of philosophy of art, Martin Heidegger's and Hans Georg Gadamer's hermeneutic tradition and Alexius Meinong's theory of objects. This range of definitions and theories are judged and defended using a form of representationalism that begins with the results of Arthur Danto's thinking and integrates the aesthetic reflection of the Baumgarten School. The result is not only a presentation of philosophy of art from the beginning of the twentieth century to present day, but a study that proposes a theory capable of synthesizing the finest contributions of the analytic and continental traditions.

This comprehensive dictionary is an indispensible guide to American art from colonial times to contemporary postmodernism. It is the most extensive, most up-to-date dictionary on American art currently available.

The Art in Ancient Egypt in two volumes is a study of Egyptian arts and of their connection with the national religion and civilization written by French archeologists and historians Georges Perrot and Charles Chipiez. The aim of the work was to trace the course of the great evolution which culminated in the age of Pericles and came to an end in that of Marcus Aurelius. That evolution forms a complete entirety – an unbroken chain of cause and effect uniting the two eras. Using carefully selected examples authors prove that the art of the Egyptians went through the same process of development as those of other nationalities, earlier and later ones, and that the unique quality of the sculptures and paintings of the Nile Valley was a persistent affinity to simplification, which comes in part from the habit created by writing the hieroglyphic and in part from the materials used.

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.

The HarperCollins Dictionary of Art Terms and Techniques, 2nd edition, contains over 3,200 clear definitions of terns encountered in the study and practice of the visual arts and in their literature. It covers all forms of easel and mural paintings, drawing, sculpture, the graphic arts, photography, ceramics, and mosaic. There are entries on schools, styles, and periods, but the chief emphasis of the book is on the materials and methods of the artist. Materials are defined in terms of compositions, source, use, and characteristic properties; processes and techniques are defined in terms of their practical application and results. Tools and equipment are concisely described and illustrated with copious line drawings.

Soft law increasingly shapes and impacts the content of international law in multiple ways, from being a first step in a norm-making process to providing detailed rules and technical standards required for the interpretation and the implementation of treaties. This is especially true in the area of human rights. While relatively few human rights treaties have been adopted at the UN level in the last two decades, the number of declarations, resolutions, conclusions, and principles has grown significantly. In some areas, soft law has come to fill a void in the absence of treaty law, exerting a degree of normative force exceeding its non-binding character. In others areas, soft law has become a battleground for interpretative struggles to expand and limit human rights protection in the context of existing regimes. Despite these developments, little attention has been paid to soft law within human rights legal scholarship. Building on a thorough analysis of relevant case studies, this volume systematically explores the roles of soft law in both established and emerging human rights regimes. The book argues that a better understanding of how soft law shapes and affects different branches of international human rights law not only provides a more dynamic picture of the current state of international human rights, but also helps to unsettle and critically question certain political and doctrinal beliefs. Following introductory chapters that lay out the general conceptual framework, the book is divided in two parts. The first part focuses on cases that examine the role of soft law within human rights regimes where there are established hard law standards, its progressive and regressive effects, and the role that different actors play in the incubation process. The second part focuses on the role of soft law in emerging areas of international law where there is no substantial treaty codification of norms. These chapters examine the relationship between soft and hard law, the role of different actors in formulating new soft law, and the potential for eventual codification.