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'A heavyweight and intellectually solid examination of the way in which architecture, once inseparable from sculpture and painting, was slowly divorced from art.' --Financial Times
'A strident mix of academic insight, wit and polemic, Rykwert's latest book, The Judicious Eye, makes a graceful contribution to his life's work.' --Architects' Journal
'. . . a challenging work, gripping, yet sad and justly angry, on an important and little explored topic.'
--Art Newspaper
'A strident mix of academic insight, wit and polemic, Rykwert's latest book, The Judicious Eye, makes a graceful contribution to his life's work.' --Architects' Journal
'. . . a challenging work, gripping, yet sad and justly angry, on an important and little explored topic.'
--Art Newspaper
Product Description
Is architecture art? This vexed question has been posed since the 1700s, when breaking from earlier centuries in which there were no divisions between visual artist, architect, and engineer architects and laypeople alike began to see these vocations as distinct. Exploring how this separation of roles occurred, and how in the twentieth century the arts and architecture began to come together again, "The Judicious Eye" is the definitive history of the relationships between painting, sculpture and architecture as they have shifted over the past three centuries. Joseph Rykwert locates the first major shift during the Enlightenment, when key philosophers drew implied and explicit distinctions between the visual arts and architecture. As time progressed, architects came to see themselves as part of an established profession, while visual artists increasingly moved toward society's margins, widening the chasm between them. Detailing the eventual attempts to heal this breach, Rykwert concludes his book in the mid-twentieth century, when the artistic avant-garde turned to architects in its battle against a stagnant society. "The Judicious Eye", then, provides a necessary foundation for understanding architecture and visual art in the twenty-first century, as they continue to break new ground by growing closer to their intertwined roots.
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5 of 5 people found the following review helpful
Stimulating analysis
27 April 2009
Format:Hardcover
As with all of Rykwert's books, I have found this one both knowledgeable and stimulating. The author confronts a problem I have tried to address in my courses in architectural history, namely the relation of architecture to the other arts, especially the privileged ones of painting and sculture. I am now retired, but earnestly wish I had had this book in earlier years!
In this age of "happenings," "installation art" and the like, some would say that questions of genre are obsolete, as everything is liminal and transitional. with one thing blending into another. However, I think that genre questions remain important.
Also (and this is my personal belief) in the early 21st century painting and sculpture and their congeners have lost their way. They are only of interest to a coterie. Not so architecture. We are privileged to live in one of the most exciting eras in the entire history of architecture!
I did note one omission in the opening discusson of advertising in the urban setting. That omission is Robert Venturi's seminal "Learning from Las Vegas," which deals among other things with the relation of signage to "sheds." Also, there could have been more illustrations, though these would raise the price of the book. As it is, the volume is both handsome and good value.
In this age of "happenings," "installation art" and the like, some would say that questions of genre are obsolete, as everything is liminal and transitional. with one thing blending into another. However, I think that genre questions remain important.
Also (and this is my personal belief) in the early 21st century painting and sculpture and their congeners have lost their way. They are only of interest to a coterie. Not so architecture. We are privileged to live in one of the most exciting eras in the entire history of architecture!
I did note one omission in the opening discusson of advertising in the urban setting. That omission is Robert Venturi's seminal "Learning from Las Vegas," which deals among other things with the relation of signage to "sheds." Also, there could have been more illustrations, though these would raise the price of the book. As it is, the volume is both handsome and good value.
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