Easels of Utopia

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A01=John Baldacchino
Adorno
Art
Author_John Baldacchino
avant garde aesthetics
Bourgeois Heritage
British modern artists
Caravaggio's Depiction
Caravaggio's Work
Caravaggio’s Depiction
Caravaggio’s Work
Category=QDHF
Category=QDTN
Common Sense
Communism
Communist
Connections
contingency in aesthetic philosophy
Culture
Death
Distance
Entangled
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eq_isMigrated=2
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Ethical Objections
Excurus
Futurist Movement
Grammar
Gramsci
Great Popular Masses
Historic autonomous
Human Conditions
Human Suffering
Humanism
Humanist fallacies
Identity
Il Funerale
Image
Imagery
Individuating Property
Italian art theory
Italianate Insularity
John Baldacchino
Lukacs
Marinetti's Futurism
Marinetti’s Futurism
Marini's Work
Marini’s Work
Marxian
Marxism
Metaphysical Art
metaphysical painting
Mimesis
modernity in art
Negative Discourse
Nietzsche 1982b
Parodies
Performative Happenings
Plastic Dynamism
Plastic Materiality
Popular Hagiography
Post-Marxist
postwar realism
Rational Dogmatism
Re-placement
Realism
Realist Abstraction
Referential Exchange
Relevance
Self-perceived Memory
Seminal Reasons
Singular Presentation
Sorelian Notion
Spencer's Art
Spencer’s Art
Telos
Tight Rope Walking
Totality
Tragedy
Translations

Product details

  • ISBN 9781138616233
  • Weight: 217g
  • Dimensions: 156 x 234mm
  • Publication Date: 31 Mar 2021
  • Publisher: Taylor & Francis Ltd
  • Publication City/Country: GB
  • Product Form: Paperback
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Originally published in 1998, Easels of Utopia presents a discussion of art's duration and contingency within the avant garde's aesthetic parameters, which throughout this century have constructed, influenced, and informed our definitions of modernity. In this context the book reads Umberto Boccioni's Futurism as reminiscent of Thomist realism; proposes Caravaggism's historical relevance to the election of individuality in post-war realism; and draws the readers attention to the aesthetic implications in Carlo Carrà's metaphysical art and its reappraisal of the early Renaissance. Following a contextual analysis of the historic avant-garde in Part One, Part Two presents parallel discussions of Italian and British questions, articulated by the works of Marino Marini, Francis Bacon, Renato Guttuso and Stanley Spencer in their return to individuality within art's aesthetic construct. The author argues that this initiates a return to 'lost' beginnings where form seeks knowledge, content regains an ability to anarchize, and art recognizes its contingent condition.

John Baldacchino is the Director of the Arts Institute at the University of Madison-Winsconsin, where he is also a Professor of Arts Education.

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