The "invisible masterpiece" is an unattainable ideal, a work in which a dream of absolute arts is incorporated but can never be realized. By means of this metaphor borrowed from Balzac, the author shows the variety of ways in which the status and meaning of the masterpiece have been elevated and denigrated since the early 19th century. The history of the masterpiece coincides with the history of the public museum. Leonardo's "Mona Lisa" and other celebrated paintings preoccupied later artists, who felt burdened by the one ...
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The "invisible masterpiece" is an unattainable ideal, a work in which a dream of absolute arts is incorporated but can never be realized. By means of this metaphor borrowed from Balzac, the author shows the variety of ways in which the status and meaning of the masterpiece have been elevated and denigrated since the early 19th century. The history of the masterpiece coincides with the history of the public museum. Leonardo's "Mona Lisa" and other celebrated paintings preoccupied later artists, who felt burdened by the one-time cult of the masterpiece as it had been transformed into the cult of visible works of art. Following Duchamp, artists became increasingly resistant to the notion of the masterpiece. Beginning in the 1960s, Conceptual and Minimal artists concentrated on ephemeral forms and manufactured multiple copies in order to reject the outmoded status of the one-off masterpiece and the art market that fed off it. This work presents an account of Western art that reveals works, events and individuals in the history of art in a different way.
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New. 0226042650. *** FREE UPGRADE to Courier/Priority Shipping Upon Request ***-*** IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT-384 pages--IMPORTANT: Interior text is clean, tight, and unmarked. Pages are intact and tight to the spine. "The "invisible masterpiece" is an unattainable ideal, a work of art into which a dream of absolute art is incorporated but can never be realized. Using this metaphor borrowed from Balzac, Hans Belting explores the history of "the masterpiece" and how its status and meaning have been elevated and denigrated since the early nineteenth century. Before 1800, works of art were either imitative (portraits and landscapes) or narrative (history painting). But under the influence of Romantic modernity, the physical object--a painted canvas, for example, or a sculpture--came to be seen as visible testimony of the artist's attempt to achieve absolute or ultimate art; in short, the impossible. This revolution in interpretation coincided with the establishment of the first public art museums, in which classical and Renaissance works were presented as the "real" masterpieces, timeless art of such quality that no modern artist could possibly hope to achieve. The Mona Lisa and other celebrated paintings preoccupied artists who felt burdened by this cult of the masterpiece as it came to be institutionalized. " From University of Chicago Press--with a bonus offer--;
