MARC Record from marc_columbia

LEADER: 03434cam a2200481 i 4500
001 16067532
005 20220525090146.0
008 210219t20212021ilua b 001 0 eng
010 $a 2021007592
024 $a99990333292
035 $a(OCoLC)on1237634276
040 $aICU/DLC$beng$erda$cDLC$dOCLCO$dOCLCF$dUKMGB$dYDX
020 $a9780226745046$qhardcover
020 $a022674504X$qhardcover
020 $z9780226745183$qelectronic book
035 $a(OCoLC)1237634276
042 $apcc
050 00 $aN7570$b.B88 2021
082 00 $a704.9/42$223
100 1 $aButterfield-Rosen, Emmelyn,$eauthor.
245 10 $aModern art & the remaking of human disposition /$cEmmelyn Butterfield-Rosen.
246 30 $aModern art and the remaking of human disposition
264 1 $aChicago :$bThe University of Chicago Press,$c2021.
264 4 $c©2021
300 $a340 pages :$billustrations (some color) ;$c27 cm
336 $atext$btxt$2rdacontent
337 $aunmediated$bn$2rdamedia
338 $avolume$bnc$2rdacarrier
504 $aIncludes bibliographical references and index.
505 0 $aFigures of Thought: Poseuses and the Controversy of the Grande Jatte -- Beethoven's Farewell: The Creative Genius "in the Claws of the Secession" -- The Mise-en-scène of Dreams: L'Après-midi d'un faune
520 $a"Human Dispositions explores new conventions for posing and positioning human figures in pictorial, architectural, and theatrical space in Europe in the decades leading up to WWI. The author contends that questions of "disposition" are vital to understanding a key transitional period in the history of Western modernism. Around 1885, avant-garde artists began to present human figures in strictly frontal, lateral, and dorsal postures. The effect, compared with standard, classical representations of the human figure, was both archaic and advanced, in keeping with contemporary theories of evolution and human psychology. These new ways of posing figures was how modern artists challenged long, deeply held assumptions about human consciousness and the human being's privileged status in the world. Featured are three major works: the painting Poseuses (1886-1888) by the French Neo-Impressionist artist Georges Seurat; the Beethovenfries mural (1902) by the Austrian Secessionist painter Gustav Klimt; and the ballet L'Après-midi d'un faune (1912) by the Russian dancer and Ballets Russes choreographer Vaslav Nijinsky. Each work created an uproar when first presented. They were meant to be manifestos for the new values of a modern world and to overturn the superior, cerebral, moral status of the human subject"--$cProvided by publisher.
600 10 $aSeurat, Georges,$d1859-1891.$tSunday afternoon on the island of la Grande Jatte.
600 10 $aKlimt, Gustav,$d1862-1918.$tBeethoven frieze.
630 00 $aAfternoon of a faun (Choreographic work : Nijinsky)
630 07 $aAfternoon of a faun (Choreographic work : Nijinsky)$2fast$0(OCoLC)fst01385539
630 07 $aBeethoven frieze (Klimt, Gustav)$2fast$0(OCoLC)fst01363065
630 07 $aSunday afternoon on the island of la Grande Jatte (Seurat, Georges)$2fast$0(OCoLC)fst01356504
650 0 $aHuman figure in art.
650 0 $aArt, Modern.
650 7 $aArt, Modern.$2fast$0(OCoLC)fst00816615
650 7 $aHuman figure in art.$2fast$0(OCoLC)fst01896063
776 08 $iebook version :$z9780226745183
852 0 $bbar$hN7570$i.B88 2021