Arts Ideas And Civilization

Survey of the arts and ideas of Western Civilization from Paleolithic times to the present.

The story of the arts in the West from prehistory to the present. Much of the book is devoted to the visual arts, and the remainder to literature, ideas, history, philosophy, music, dance and theatre. It summarizes major concepts, characterizes major personalities and defines technical terms.

This work covers topics related to the exercise of influence by individuals and groups within organizations. It includes an introductory group of articles dealing with the nature of influence processes and power.

Didier Maleuvre argues that works of art in Western societies from Ancient Greece to the interconnected worlds of the Digital Age have served to rationalize and normalize an engagement with bourgeois civilization and the city. Maleuvre details that the history of art itself is the history civilization, giving rise to the particular aesthetics and critical attitudes of respective moments and movements in changing civilizations in a dialogical mode. Building a visual cultural account of shifting forms of culture, power, and subjectivity, Maleuvre illustrates how art gave a pattern and a language to the model of social authority rather than simply functioning as a reflective one. Through a broad cultural study of the relationship between humanity, art, and the culture of civilization, Maleuvre introduces a new set of paradigms that critique and affirm the relationship between humanity and art, arguing for it as an engine of social reproduction that transforms how culture is inhabited.

Over the course of the long nineteenth century, Civilisation was the subject of some of the most prominent public mural paintings and sculptures in Europe and the United States, especially those that speculated on the direction of history. It also underpinned Western depictions of non-Western societies and evaluations of social progress and artistic excellence. The essays in this volume explore the ways in which the idea of Civilisation acted as a lens through which Europeans and Americans represented themselves and others, how this concept reshaped understandings of historical and artistic development, and also how it changed and was put to new uses as the century progressed. This collection will prove invaluable to students and academics in both history and art history.

Notions of civilization and barbarism were intrinsic to Eugène Delacroix’s artistic practice: he wrote regularly about these concepts in his journal, and the tensions between the two were the subject of numerous paintings, including his most ambitious mural project, the ceiling of the Library of the Chamber of Deputies in the Palais Bourbon. Exiled in Modernity delves deeply into these themes, revealing why Delacroix’s disillusionment with modernity increasingly led him to seek spiritual release or epiphany in the sensual qualities of painting. While civilization implied a degree of control and the constraint of natural impulses for Delacroix, barbarism evoked something uncontrolled and impulsive. Seeing himself as part of a grand tradition extending back to ancient Greece, Delacroix was profoundly aware of the wealth and power that set nineteenth-century Europe apart from the rest of the world. Yet he was fascinated by civilization’s chaotic underbelly. In analyzing Delacroix’s art and prose, David O’Brien illuminates the artist’s effort to reconcile the erudite, tradition-bound aspects of painting with a desire to reach viewers in a more direct, unrestrained manner. Focusing chiefly on Delacroix’s musings about civilization in his famous journal, his major mural projects on the theme of civilization, and the place of civilization in his paintings of North Africa and of animals, O’Brien links Delacroix’s increasingly pessimistic view of modernity to his desire to use his art to provide access to a more fulfilling experience. With more than one hundred illustrations, this original, astute analysis of Delacroix and his work explains why he became an inspiration for modernist painters over the half-century following his death. Art historians and scholars of modernism especially will find great value in O’Brien’s work.