The Living Line: Modern Art and the Economy of EnergyDartmouth College Press, 7 avr. 2015 - 384 pages Robin Veder's The Living Line is a radical reconceptualization of the development of late-nineteenth- and early-twentieth-century American modernism. The author illuminates connections among the histories of modern art, body cultures, and physiological aesthetics in early-twentieth-century American culture, fundamentally altering our perceptions about art and the physical, and the degree of cross-pollination in the arts. The Living Line shows that American producers and consumers of modernist visual art repeatedly characterized their aesthetic experience in terms of kinesthesia, the sense of bodily movement. They explored abstraction with kinesthetic sensibilities and used abstraction to achieve kinesthetic goals. In fact, the formalist approach to art was galvanized by theories of bodily response derived from experimental physiological psychology and facilitated by contemporary body cultures such as modern dance, rhythmic gymnastics, physical education, and physical therapy. Situating these complementary ideas and exercises in relation to enduring fears of neurasthenia, Veder contends that aesthetic modernism shared industrial modernity's objective of efficiently managing neuromuscular energy. In a series of finely grained and interconnected case studies, Veder demonstrates that diverse modernists associated with the Armory Show, the Soci t Anonyme, the Stieglitz circle (especially O'Keeffe), and the Barnes Foundation participated in these discourses and practices and that "kin-aesthetic modernism" greatly influenced the formation of modern art in America and beyond. This daring and completely original work will appeal to a broad audience of art historians, historians of the body, and American culture in general. |
Table des matières
Body Cultures Physiological Aesthetics and Kinaesthetic Modernism | 1 |
1 Poise | 37 |
2 Empathy | 67 |
3 Motive | 95 |
4 Habit | 123 |
5 Shock | 159 |
Color Illustrations | 176 |
6 Signature | 185 |
8 Rhythm | 231 |
9 Vibration | 261 |
10 Discomfort | 287 |
11 Organization | 315 |
Notes | 325 |
Bibliography | 363 |
395 | |
7 Caricature | 209 |
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Expressions et termes fréquents
abstract art aesthetic experience Alexander Technique Alexander’s antimodern Armory Show Art as Experience art education Arthur artist Barnes Foundation Barnes’s bodily body cultures breathing Chalice Collection color composition critics Cubism Dalcroze dancers Davies Davies’s Delsarte Denishawn Dewey Dewey’s drawing Dreier Papers early twentieth-century Edna Potter Eisen Émile Jaques-Dalcroze emotional empathy energy Eurhythmics exercise exhibition figures Folder Gallery Georgia O’Keeffe Georgia O’Keeffe Museum gestures Greek Movement habits human imagery images introspective Jaques-Dalcroze John Dewey Kandinsky Katherine Dreier kinesthesia kinesthetic kinesthetic awareness Leo Stein lift of inhalation living line Mensendieck modern art modernist motor move Münsterberg muscle muscular Museum of Art nerve nervous neurasthenia neuromuscular Nude O’Keeffe’s one’s painter painting Pène du Bois Pequeño Perlman physiological aesthetics physiological psychology plate poise poses posture proprioceptive Quality of Greek race racial response rhythm rhythmic Rolf root race sensations sense sensory social spiritual Stein stimulating Ted Shawn theory tion vibrations viewers visual Wright York