The Eternal Present, Volume I : : The Beginnings of Art / / Sigfried Giedion.
A groundbreaking reevaluation of paleolithic art through the lens of modernism, from the acclaimed historian of art and architectureIn The Beginnings of Art, Sigfried Giedion, best known as a historian of architecture, shifts his attention to art and its very origins. Breaking with an earlier, mater...
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Superior document: | Title is part of eBook package: De Gruyter The A. W. Mellon Lectures in the Fine Arts eBook Package |
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Place / Publishing House: | Princeton, NJ : : Princeton University Press, , [2023] ©1962 |
Year of Publication: | 2023 |
Language: | English |
Series: | The A. W. Mellon Lectures in the Fine Arts ;
35 |
Online Access: | |
Physical Description: | 1 online resource (610 p.) :; 371 b/w illus. 5 maps. |
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001 | 9780691251912 | ||
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050 | 4 | |a N5310 | |
072 | 7 | |a ART015000 |2 bisacsh | |
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100 | 1 | |a Giedion, Sigfried, |e author. |4 aut |4 http://id.loc.gov/vocabulary/relators/aut | |
245 | 1 | 4 | |a The Eternal Present, Volume I : |b The Beginnings of Art / |c Sigfried Giedion. |
264 | 1 | |a Princeton, NJ : |b Princeton University Press, |c [2023] | |
264 | 4 | |c ©1962 | |
300 | |a 1 online resource (610 p.) : |b 371 b/w illus. 5 maps. | ||
336 | |a text |b txt |2 rdacontent | ||
337 | |a computer |b c |2 rdamedia | ||
338 | |a online resource |b cr |2 rdacarrier | ||
347 | |a text file |b PDF |2 rda | ||
490 | 0 | |a The A. W. Mellon Lectures in the Fine Arts ; |v 35 | |
505 | 0 | 0 | |t Frontmatter -- |t The A. W. Mellon Lectures in the Fine Arts -- |t ACKNOWLEDGMENTS -- |t TABLE OF CONTENTS -- |t INTRODUCTION -- |t PART I ART A FUNDAMENTAL EXPERIENCE -- |t Introduction -- |t The framework -- |t The symbol -- |t The animal -- |t The human figure -- |t Space conception -- |t Constancy and change -- |t PART II THE MEANS OF EXPRESSION IN PRIMEVAL ART -- |t ABSTRACTION -- |t TRANSPARENCY, SIMULTANEITY, MOVEMENT -- |t PART III SYMBOLIZATION -- |t THE SYMBOL IN PRIMEVAL ART -- |t HANDS AS MAGIC SYMBOLS -- |t MANIFOLD MEANINGS OF CIRCULAR FORMS -- |t FERTILITY SYMBOLS -- |t THE GREAT SYMBOLS -- |t PART IV THE SACRED ANIMAL -- |t Introduction -- |t Animal cult and high civilizations -- |t THE ANIMAL AND THE RELIGIOUS IMPULSE -- |t THE ANIMAL AND TOTEMISM -- |t THE ANIMAL AND THE EVOLUTION OF PRIMEVAL ART -- |t THE EARLIEST BEGINNINGS OF ART -- |t THE MAGDALENIAN ERA -- |t THE AGE OF SCULPTURE -- |t THE GREAT COMPOSITIONS -- |t PART V THE HUMAN FIGURE -- |t Introduction -- |t Sculpture in relief and in the round -- |t VENUS FIGURINES -- |t FIGURES WITHOUT HEADS -- |t FEMALE AND MALE RELIEFS -- |t MASKS AND HYBRID CREATURES -- |t PART VI THE SPACE CONCEPTION OF PREHISTORY -- |t Introduction -- |t Was there a space conception in prehistory? -- |t On the structure of caverns and architecture -- |t Freedom of approach to all surfaces -- |t The coming change -- |t Prehistoric space conception and contemporary art -- |t The eternal present -- |t LIST OF ILLUSTRATIONS -- |t LIST OF WORKS CITED -- |t INDEX |
506 | 0 | |a restricted access |u http://purl.org/coar/access_right/c_16ec |f online access with authorization |2 star | |
520 | |a A groundbreaking reevaluation of paleolithic art through the lens of modernism, from the acclaimed historian of art and architectureIn The Beginnings of Art, Sigfried Giedion, best known as a historian of architecture, shifts his attention to art and its very origins. Breaking with an earlier, materialistic approach, he explores paleolithic art by bringing abstraction, transparency, and simultaneity into play as modern art has revealed them anew. Focusing on the dual concepts of constancy and change, he examines paleolithic paintings, engravings, and sculpture, as well as modern art and recent examples of “primitive art.” He argues that the two keys to the meaning of prehistoric art are the symbol, portraying reality before reality exists, and the animal as humankind’s superior in the unified primordial world in which both human and animal were embedded. The result is a highly original and important study of prehistoric art. | ||
538 | |a Mode of access: Internet via World Wide Web. | ||
546 | |a In English. | ||
588 | 0 | |a Description based on online resource; title from PDF title page (publisher's Web site, viewed 07. Mrz 2024) | |
650 | 0 | |a Art, Prehistoric. | |
650 | 7 | |a ART / History / General. |2 bisacsh | |
653 | |a Alexander the Great. | ||
653 | |a Frazer, J. G. | ||
653 | |a Gillen, F. J. | ||
653 | |a Hinduism. | ||
653 | |a ITHYPHALLIC REPRESENTATIONS. | ||
653 | |a Luquet, G. H. | ||
653 | |a Luxor. | ||
653 | |a Min. | ||
653 | |a PERFORATIONS. | ||
653 | |a Read, Herbert. | ||
653 | |a Reinach, Salomon. | ||
653 | |a SYMBOLS/symbolization/symbolism/symbolic forms. | ||
653 | |a Saint-Germain-en-Laye, museum. | ||
653 | |a Spencer, B. | ||
653 | |a Statius. | ||
653 | |a Venus figurines/statuettes. | ||
653 | |a Worringer, Wilhelm. | ||
653 | |a adornment, desire for. | ||
653 | |a and origin of art. | ||
653 | |a and purpose of art. | ||
653 | |a anonymous. | ||
653 | |a anxiety/anguish, cosmic. | ||
653 | |a art as expression of. | ||
653 | |a art of. | ||
653 | |a as fertility symbol. | ||
653 | |a as origin of art. | ||
653 | |a beginnings of. | ||
653 | |a birth of. | ||
653 | |a bâtons de commandement. | ||
653 | |a formes découpées. | ||
653 | |a markings made by. | ||
653 | |a origins of art in. | ||
653 | |a relation to art. | ||
773 | 0 | 8 | |i Title is part of eBook package: |d De Gruyter |t The A. W. Mellon Lectures in the Fine Arts eBook Package |z 9783111292908 |
856 | 4 | 0 | |u https://doi.org/10.1515/9780691251912?locatt=mode:legacy |
856 | 4 | 0 | |u https://www.degruyter.com/isbn/9780691251912 |
856 | 4 | 2 | |3 Cover |u https://www.degruyter.com/document/cover/isbn/9780691251912/original |
912 | |a 978-3-11-129290-8 The A. W. Mellon Lectures in the Fine Arts eBook Package | ||
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