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The Art Presence
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The Matrix of Modernism
Sanford Schwartz situates Modernist poetics in the intellectual ferment of the early twentieth century, which witnessed major developments in philosophy, science, and the arts. Beginning with the works of various philosophers--Bergson, James, Bradley, Nietzsche, and Husserl, among others--he establishes a matrix that brings together not only the principal characteristics of Modernist/New Critical poetics but also the affiliations between the Continental and the Anglo-American critical traditions. Originally published in 1985. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
Jacob Lawrence
"This book is published on the occasion of the exhibition Jacob Lawrence: The American Struggle organized by the Peabody Essex Museum, Salem, Massachusetts."
C. S. Lewis on the Final Frontier
Sanford Schwartz offers a penetrating new reading of Lewis's celebrated Space Trilogy. Taken together, Schwartz's readings call into question Lewis's self-styled image as a "dinosaur" out of step with the main currents of modern thought. Far from a simple struggle between an old-fashioned Christian humanism and a newfangled heresy, Lewis's Space Trilogy should be seen as the searching effort of a modern religious apologist to sustain and enrich the former through critical engagement with the latter.
Artists and Writers
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Artist Stories
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Myron Stout
Kent Fine Art is pleased to present a retrospective of works by MYRON STOUT (1910-1987). Kent's show, along with the concurrent exhibition at Flynn Gallery, comprises the first one-person exhibition of Stout since the 1980 show at the Whitney Museum of American Art. The two-gallery retrospective has been organized in cooperation with Oil & Steel Gallery. The Exhibition, the most comprehensive of the artist to date, include 69 works from 1948 to 1980 from the Estate of Myron Stout and from major museum and private collections. For the first time, once can see in-depth several significant bodies of work that shed new light on the development and progression of Stout's entire oeuvre. In addition to the black and white abstract paintings, charcoals, and graphites for which he is best known, we are presenting 16 paintings from Stout's first mature period from 1950-51, 5 paintings from 1952-53, and 18 conte landscapes.
Vermeer's Camera
Art historians have long speculated on how Vermeer achieved the uncanny mixture of detached precision, compositional repose, and perspective accuracy that have drawn many to describe his work as "photographic." Indeed, many wonder if Vermeer employed a camera obscura, a primitive form of camera, to enhance his realistic effects? In Vermeer's Camera, Philip Steadman traces the development of the camera obscura--first described by Leonaro da Vinci--weighs the arguments that scholars have made for and against Vermeer's use of the camera, and offers a fascinating examination of the paintings themselves and what they alone can tell us of Vermeer's technique. Vermeer left no record of his method a...
Alex Katz in Maine
Essay by Sanford Schwartz.
The New Bergson
At the threshold of the twentieth century, Bergson reset the agenda for philosophy and its relationship with science, art and even life itself. Concerned with both examining and extolling the phenomena of time, change, and difference, he was at one point held as both "the greatest thinker in the world" and "the most dangerous man in the world." Yet the impact of his ideas was so all-pervasive among artists, philosophers and politicians alike, that by the end of the First World War it had become impossibly diffuse. In a manner imitating his own cult of change, the Bergsonian school departed from the scene almost as quickly as it had arrived. As part of a current resurgence of interest in Bergson, both in Europe and in North America, this collection of essays addresses the significance of his philosophical legacy for contemporary thought.
