- Paperback: 280 pages
- Publisher: Routledge; New edition edition (31 Mar 1965)
- Language English
- ISBN-10: 0415045797
- ISBN-13: 978-0415045797
- Product Dimensions: 21.6 x 13.6 x 1.6 cm
- Amazon Bestsellers Rank: 2,480,175 in Books (See Top 100 in Books)
The Social History of Art
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Review
"Unrivalled in its scope and ambition, Arnold Hauser's classic study can be placed alongside the writings of Schapiro, Wolfflin, and Panofsky as a critical contribution to the development of the history of art as discipline."
-Alan Wallach, College of William and Mary
"This is an exciting, an irritating, a scholarly and an absolutely indispensable book."
-Art News and Reviews
"Hauser's work repays reading because it was and remains the only comprehensive scholarly synthesis of the history of art from the perspective of historical materialism."
-Whitney Davies
--This text refers to an alternate Paperback edition.
-Alan Wallach, College of William and Mary
"This is an exciting, an irritating, a scholarly and an absolutely indispensable book."
-Art News and Reviews
"Hauser's work repays reading because it was and remains the only comprehensive scholarly synthesis of the history of art from the perspective of historical materialism."
-Whitney Davies
--This text refers to an alternate Paperback edition.
Product Description
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 in 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 asseses 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. --This text refers to an alternate Paperback edition.
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 asseses 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. --This text refers to an alternate Paperback edition.
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First Sentence
This, the second text in Arnold Hauser's four-volume series The Social History of Art, begins with an account of that phenomenon held to be the foundation for the development of modern art in the West: the Renaissance, initially in Italy, and then spreading gradually throughout Europe. Read the first page
Front Cover | Copyright | Table of Contents | Excerpt | Index
This, the second text in Arnold Hauser's four-volume series The Social History of Art, begins with an account of that phenomenon held to be the foundation for the development of modern art in the West: the Renaissance, initially in Italy, and then spreading gradually throughout Europe. Read the first page
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Front Cover | Copyright | Table of Contents | Excerpt | Index
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1 review
10 of 18 people found the following review helpful
Proves that intellectual history has advanced since 1950
28 Feb 2001
Format:Paperback
A very nice introduction to the volume points out the intellectual confusions and tensions throughout. A crude marxism and psychologism overlies a fairly traditional stylistic chronology. One realizes how important are later studies that emphasize patronage and actual political power as opposed to disembodied "forces" and "spirits."
Hauser is always provocative and sometimes amusing. There are surprisingly few examples or paintings analyzed in any detail and sometimes he goes off in such detail on literature that one wonders where the focus of the book truly lies.
This book is worthwhile reading to understand the roots of modern art history - for Hauser is responding to 19th century writers and sees Impressionism as the great watershed in his discipline. He is thus aware of the importance of his own historical nexus, yet is caught up in a kind of analytical conformity that all too often seems like a grey flannel suit imposed upon the art in question.
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