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Art in Theory (1648-1815) provides a wide-ranging and comprehensive collection of documents on the theory of art from the founding of the French Academy until the end of the Napoleonic Wars. Like its highly successful companion volumes, Art in Theory (1815-1900) and Art in Theory (1900-1990) , its' primary aim is to provide students and teachers with the documentary material for informed and up-to-date study. Its' 240 texts, clear principles of organization and considerable editorial content offer a vivid and indispensable introduction to the art of the early modern period. Harrison, Wood and Gaiger have collected writing by artists, critics, philosophers, literary figures and administrators of the arts, some reprinted in their entirety, others excerpted from longer works.A wealth of material from French, German, Italian, Spanish, Dutch and Latin sources is also provided, including many new translations. Among the major themes treated are early arguments over the relative merits of ancient and modern art, debates between the advocates of form and color, the beginnings of modern art criticism in reviews of the Salon, art and politics during the French Revolution, the rise of landscape painting, and the artistic theories of Romanticism and Neo-classicism. Each section is prefaced by an essay that situates the ideas of the period in their historical context, while relating theoretical concerns and debates to developments in the practice of art. Each individual text is also accompanied by a short introduction. An extensive bibliography and full index are provided.
(1248 pages) provides a comprehensive collection of documents on the theory of art from the founding of the french academy until the end of the napoleonic wars. this work also provides french, german, italian, spanish, dutch and latin sources. 0 (Paperback) 
Provides a comprehensive collection of documents on the theory of art from the founding of the French Academy until the end of the Napoleonic Wars. This work also provides French, German, Italian, Spanish, Dutch and Latin sources. 
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Acknowledgements. A Note on the Presentation and Editing of Texts. General Introduction. Part I: Establishing the Place of Art: Introduction. 1. Ancients and Moderns: 1. From The Painting of the Ancients 1637: Franciscus Junius. 2. Letter to Junius 1637: Peter Paul Rubens. 3. From The Art of Painting, its Antiquity and Greatness 1649: Francisco Pacheco. 4. Dedication to Constantijn Huygens from Icones I 1660: Jan de Bisschop. 5. From Painting Illustrated in Three Dialogues 1685: William Aglionby. 6. 'A Digression on the Ancients and the Moderns' 1688: Bernard le Bovier de Fontenelle. 7. Preface and 'Second Dialogue' from Parallel of the Ancients and Moderns 1688: Charles Perrault. 8. From Reflections upon Ancient and Modern Learning 1694: William Wotton. 2. The Academy: Systems and Principles: 9. Letters to Chantelou and to Chambray 1647/1665: Nicholas Poussin. 10. Observations on Painting c. 1660-5: Nicholas Poussin. 11. Recollections of Poussin 1662-1685: Various Authors. 12. Petition to the King and to the Lords of his Council 1648: Martin de Charmois. 13. Statutes and Regulations of the Academie Royale de Peinture et de Sculpture 1648. 14. From An Idea of the Perfection of Painting 1662: Roland Freart de Chambray. 15. Letter to Poussin c. 1665: Jean Baptiste Colbert. 16. 'The Idea of the Painter, Sculptor and Architect' 1664: Giovanni Pietro Bellori. 17. From Conversations on the Lives and Works of the Most Excellent Ancient and Modern Painters 1666: Andre Felibien. 18. Preface to Seven Conferences 1667: Andre Felibien. 19. 'First Conference' 1667: Charles LeBrun. 20. 'Second Conference' 1667: Philippe de Champaigne. 21. 'Sixth Conference' 1667: Charles LeBrun. 22. 'Conference on Expression' 1668: Charles LeBrun. 23. Table of Precepts: Expression 1680: Henri Testelin. 3. Form and Colour: 24. 'De Imitatione Statuorum', before 1640: Peter Paul Rubens. 25. From The Microcosm of Painting 1657: Francesco Scannelli. 26. From 'Diary of the Cavaliere Bernini's Visit... 