cover cover next page > Cover title : Social History of Art. Volume 2, Renaissance, Mannerism, Baroque 3Rd Ed. author : Hauser, Arnold. publisher : Taylor & Francis Routledge isbn10 | asin : 0415199468 print isbn13 : 9780415199469 ebook isbn13 : 9780203981320 language : English subject Art and society, Art--History, Art, Modern--History.--19th century , Art, Modern--History.--20th century , Art et société , Art--Histoire publication date : 1999 lcc : N72.S6H3613eb vol. 2 ddc : 709 subject : Art and society, Art--History, Art, Modern--History.--19th century , Art, Modern--History.--20th century , Art et société , Art--Histoire cover next page > file:///C|/Users/Sergey/Desktop/2009-09-23/The%20Social%20History%20of%20Art/0415199468/files/cover.html [24.09.2009 2:26:38] page_i < previous page page_i next page > Page i THE SOCIAL HISTORY OF ART VOLUME II ‘As much a work of intellectual history as art history, Hauser’s work remains unparalleled in its scope as a study of the relations between the forces of social change and western art from its origins until the middle of the 20th century.’ Johanna Drucker, Professor of Art History, State University of New York ‘Harris’s introductions to each volume—dealing with Hauser’s aims, principles, concepts and terms are extremely useful…. This edition should bring Hauser’s thought to the attention of a new generation of readers.’ Whitney Davis, Professor of Art History, Northwestern University First published in 1951 Arnold Hauser’s commanding work presents an account of the development and meaning of art from its origins in the Stone Age through to the ‘Film Age’. Exploring the interaction between art and society, Hauser effectively details social and historical movements and sketches the frameworks within which visual art is produced. This new edition provides an excellent introduction to the work of Arnold Hauser. In his general introduction to The Social History of Art, Jonathan Harris assesses the importance of the work for contemporary art history and visual culture. In addition, an introduction to each volume provides a synopsis of Hauser’s narrative and serves as a critical guide to the text, identifying major themes, trends and arguments. Arnold Hauser was born in Hungary and studied literature and the history of art at the universities of Budapest, Vienna, Berlin and Paris. In 1921 he returned to Berlin to study economics and sociology under Ernst Troeltsch. From 1923 to 1938 he lived in Vienna where he began work on The Social History of Art. He lived in London from 1938 until 1977, when he returned to his native Hungary. He died in Budapest in 1978. Jonathan Harris is Senior Lecturer in Art History and Critical Theory at the University of Keele. He is the author of Federal Art and National Culture: The Politics of Identity in New Deal America (1995), co-author of Modernism in Dispute: Art Since The Forties (1993) and co-editor of Art in Modern Culture: An Anthology of Critical Texts (1992). < previous page page_i next page > file:///C|/Users/Sergey/Desktop/2009-09-23/The%20Social%20History%20of%20Art/0415199468/files/page_i.html [24.09.2009 2:26:39] page_ii < previous page page_ii next page > Page ii The Social History of Art Arnold Hauser, with an introduction by Jonathan Harris Volume I—From Prehistoric Times to the Middle Ages Volume II—Renaissance, Mannerism, Baroque Volume III—Rococo, Classicism and Romanticism Volume IV—Naturalism, Impressionism, The Film Age < previous page page_ii next page > file:///C|/Users/Sergey/Desktop/2009-09-23/The%20Social%20History%20of%20Art/0415199468/files/page_ii.html [24.09.2009 2:26:39] page_iii < previous page page_iii next page > Page iii THE SOCIAL HISTORY OF ART VOLUME II Renaissance, Mannerism, Baroque Arnold Hauser with an introduction by Jonathan Harris London and New York < previous page page_iii next page > file:///C|/Users/Sergey/Desktop/2009-09-23/The%20Social%20History%20of%20Art/0415199468/files/page_iii.html [24.09.2009 2:26:40] page_iv < previous page page_iv next page > Page iv First published in two volumes 1951 This edition published in the Taylor & Francis e-Library, 2005. To purchase your own copy of this or any of Taylor & Francis or Routledge’s collection of thousands of eBooks please go to www.eBookstore.tandf.co.uk. Second edition published in four volumes 1962 by Routledge & Kegan Paul plc Third edition 1999 © 1951, 1962, 1999 The Estate of Arnold Hauser Introductions © 1999 Routledge Translated in collaboration with the author by Stanley Godman All rights reserved. No part of this book may be reprinted or reproduced or utilized in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Library of Congress Cataloguing in Publication Data A catalogue record for this book has been requested ISBN 0-203-98132-4 Master e-book ISBN ISBN 0-415-19946-8 (Print Edition) (Vol. II) ISBN 0-415-19945-X (Print Edition) (Vol. I) ISBN 0-415-19947-6 (Print Edition) (Vol. III) ISBN 0-415-19948-4 (Print Edition) (Vol. IV) ISBN 0-415-21386-X (Set) < previous page page_iv next page > file:///C|/Users/Sergey/Desktop/2009-09-23/The%20Social%20History%20of%20Art/0415199468/files/page_iv.html [24.09.2009 2:26:40] page_v < previous page page_v next page > Page v CONTENTS List of illustrations ix General introduction xiii Introduction to volume II xxix 1 The concept of the Renaissance 1 The liberal-individualistic and the aesthetic-sensualistic concept of the Renaissance 3 National and ethnographic criteria 6 The uniformity of the representation as a formal principle 8 The continuity between the Middle Ages and the Renaissance 10 The rationalism of the Renaissance 12 2 The demand for middle-class and courtly art in the Quattrocento 13 The class struggles in Italy at the end of the Middle Ages 13 The struggle for the guilds 15 The rule of the Medici 18 From the heroic age of capitalism to the age of the rentier 19 Giotto and the Trecento 21 The romantic-chivalric art of the North Italian courts 25 The middle-class naturalism of the Florentine Quattrocento 27 < previous page page_v next page > file:///C|/Users/Sergey/Desktop/2009-09-23/The%20Social%20History%20of%20Art/0415199468/files/page_v.html [24.09.2009 2:26:41] page_vi < previous page page_vi next page > Page vi The change of style around the middle of the century 29 The guilds as the trustees of public artistic activity 32 From the founder to the collector 34 The patronage of the Medici 37 Lorenzo and Bertoldo 39 The courtly culture of the Renaissance 40 The stratification of the art public 42 The cultural élite 44 3 The social status of the Renaissance artist 46 Art and craftsmanship 46 The art market 50 The emancipation of the artist from the guild 53 The legend of the artist 57 The Renaissance concept of genius 61 The autonomy of art 65 Scientific tendencies in art 67 Specialization and versatility 70 Dilettantism and virtuosity 71 The humanists 72 4 The classicism of the Cinquecento 75 Rome as a cultural centre 76 Ecclesiastical and secular patronage 78 The ‘maniera grande’ 79 Classicism and naturalism 80 The uniformity in the development of the Renaissance 81 The artistic formalism and formulism of the moral concepts 82 Kalokagathia 84 The perfect courtier as the ideal personality 86 5 The concept of mannerism 88 Manneristic and mannered 88 The relation of mannerism to the classicism of the Renaissance 90 The discovery of mannerism by the present age 91 < previous page page_vi next page > file:///C|/Users/Sergey/Desktop/2009-09-23/The%20Social%20History%20of%20Art/0415199468/files/page_vi.html [24.09.2009 2:26:41] page_vii < previous page page_vii next page > Page vii Spiritualism and naturalism, form and formlessness 92 The dissolution of space 93 Mannerism and baroque 94 6 The age of political realism 96 The subjugation of Italy 97 The economic predominance of the oceanic nations 99 The beginnings of modern capitalism 100 Social unrest and the Reformation 101 The Catholic reform movement in Italy 103 Michelangelo 104 The idea of political realism 107 Machiavelli 108 The Tridentinum and art 110 The Reformation and art 113 The Counter Reformation and mannerism 114 The art theories of mannerism 116 The idea of the Academy 118 The problem of lay criticism 121 Florentine mannerism 122 The problem of space 123 The courtly character of mannerism 124 Tintoretto 125 Greco 127 Bruegel 128 7 The second defeat of chivalry 131 Romantic chivalry and the rationalism of the century 131 Disillusioned Spain 132 Cervantes 133 Elizabethan England 137 Shakespeare’s political outlook 138 Writers and patrons 144 Shakespeare’s public 146 The preconditions of Shakespearian form 150 Shakespeare and the ‘domestic drama’ 153 Shakespeare’s naturalism 154 Shakespeare’s mannerism 157 < previous page page_vii next page > file:///C|/Users/Sergey/Desktop/2009-09-23/The%20Social%20History%20of%20Art/0415199468/files/page_vii.html [24.09.2009 2:26:42] page_viii < previous page page_viii next page > Page viii 8 The concept of the baroque 158 The ramification of the baroque 158 The impressionism and the revaluation of the baroque 160 Woelfflin’s basic concepts 161 The cosmic outlook on life 166 9 The baroque of the Catholic courts 168 The origins of modern ecclesiastical art 168 Baroque Rome 171 The absolute monarchy and French society 173 French court art 175 The academics and the royal manufactory 179 Academicism 182 Official and unofficial art 184 The nobility and the bourgeoisie in their relationship to classicism 186 The beginnings of modern psychology 187 The salons 188 10 The baroque of the Protestant bourgeoisie 191 Flanders and Holland 191 Middle-class culture in Holland 196 Dutch fine art trade 201 The economic situation of the Dutch painters 202 Rubens and Rembrandt 203 Notes 209 Index 220 < previous page page_viii next page > file:///C|/Users/Sergey/Desktop/2009-09-23/The%20Social%20History%20of%20Art/0415199468/files/page_viii.html [24.09.2009 2:26:42] page_ix < previous page page_ix next page > Page ix ILLUSTRATIONS Plate I. 1 Ceiling Painting. Rome, S.Domitilla Catacomb. Photo Alinari 2 Christ with the Apostles. Rome, Sta Pudenziana. Photo Anderson II. 1 Empress Theodora with Attendants. Ravenna, S.Vitale. Photo Anderson 2 Emperor Justinian and Bishop Maximian. Ravenna, S.Vitale. Photo Alinari 3 Christ with Angels. Ravenna, S.Apollinare Nuovo. Photo Anderson III. 1 Cruciform page from St. Chad’s Gospels. Lichfield, Cathedral Library. Photo Victoria and Albert Museum 2 The Arrest of Christ. From the Book of Kells. Dublin, Trinity College. Photo Trinity College Library IV. 1 Evangelist. From the Codex aureus. British Museum. Photo Brit. Museum 2 Drawing from the Utrecht Psalter. British Museum. Photo Brit. Museum V. 1 The Last Judgement. Autun, St.-Lazare. Photo Arch. Photogr. d’Art et d’Hist. 2 St. Peter. Moissac, Saint-Pierre. Photo Hurault 3 Scene from the Bayeux Tapestry. Bayeux, Museum, Photo Arch. Photogr. d’Art et d’Hist. VI. 1 Rider. Bamberg, Cathedral. Photo Marburg, Kunstinstitut 2 Ekkehart and Uta. Naumburg, Cathedral. Photo Marburg, Kunstinstitut VII. 1 Head. Chartres, Cathedral: Royal Door. Photo Arch. Photogr. d’Art et d’Hist. 2 John the Baptist. Chartres, Cathedral: North Porch. Photo Arch. Photogr. d’Art et d’Hist. < previous page page_ix next page > file:///C|/Users/Sergey/Desktop/2009-09-23/The%20Social%20History%20of%20Art/0415199468/files/page_ix.html [24.09.2009 2:26:42]