In the first decades of the twentieth century, the art critic Roger Fry introduced English-speaking audiences to modern French art and formalist aesthetic theory. A Roger Fry Reader, edited by Christopher Reed, brings together for the first time a comprehensive selection of Fry's essays. Most appear here for the first time since their original publication in scholarly journals and art magazines, while some have never been published before. Representing 40 years of engagement with the arts, the essays cover a broad spectrum of topics, from Fry's influential promotion of Post-Impressionism to art education, museums, architecture, decorative art, and the implications of literature and dance for the visual arts. Reed also provides valuable historical background and considers Fry's legacy for the present. A Roger Fry Reader affords an opportunity to examine both the foundations of modern art criticism from the point of view of one of its foremost practitioners and current debates about the nature ofart and aesthetic experience.
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It is good to have this selection of the writings of English critic Fry (1866-1934), of which little remains in print today. Now not much remembered except for his championship of Cezanne and his ideas of "pure form," Fry was a broad and engaging writer whose chosen medium was the lecture or essay. In addition to his leading role as apostle of Post-Impressionism, he was at home writing on architecture, decorative arts, literature, dance, and art education. Thoughtfully selected and introduced by independent scholar Reed, this collection, which includes a few previously unpublished essays, is a pleasure to read for its fresh and direct approach to works of art and movements that have long since been canonized into oblivion. Highly recommended for general and special collections.?Jack Perry Brown, Art Inst. of Chicago Lib.
Copyright 1996 Reed Business Information, Inc.
Copyright 1996 Reed Business Information, Inc.
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BECAUSE Fry's name is so strongly associated with the promotion of Post-Impressionism in the early teens, it is easy to forget that he was forty-three years old in 1910, when his first groundbreaking exhibition of modern art opened in London. Read the first page Key Phrases - Statistically Improbable Phrases (SIPs): (learn more)
dressing buildings, imitative theory, plastic unity, plastic idea, plastic feeling, sensuous charm, catalog essay, instinctive life, formalist aesthetics, pure design, pure painting Key Phrases - Capitalized Phrases (CAPs): (learn more)
New York, Roger Fry, Omega Workshops, Vanessa Bell, Grafton Gallery, Chantrey Bequest, National Gallery, Royal Academy, Virginia Woolf, Clive Bell, Walter Sickert, Maurice Denis, William Morris, Allied Artists, Duncan Grant, Alma Tadema, Leonard Woolf, Tate Gallery Archives, London Group, Sir Lawrence, University of Chicago Press, Gordon Craig, Hogarth Press, Luke Fildes, The Listener New!
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Front Cover | Table of Contents | First Pages | Index | Back Cover | Surprise Me!
BECAUSE Fry's name is so strongly associated with the promotion of Post-Impressionism in the early teens, it is easy to forget that he was forty-three years old in 1910, when his first groundbreaking exhibition of modern art opened in London. Read the first page Key Phrases - Statistically Improbable Phrases (SIPs): (learn more)
dressing buildings, imitative theory, plastic unity, plastic idea, plastic feeling, sensuous charm, catalog essay, instinctive life, formalist aesthetics, pure design, pure painting Key Phrases - Capitalized Phrases (CAPs): (learn more)
New York, Roger Fry, Omega Workshops, Vanessa Bell, Grafton Gallery, Chantrey Bequest, National Gallery, Royal Academy, Virginia Woolf, Clive Bell, Walter Sickert, Maurice Denis, William Morris, Allied Artists, Duncan Grant, Alma Tadema, Leonard Woolf, Tate Gallery Archives, London Group, Sir Lawrence, University of Chicago Press, Gordon Craig, Hogarth Press, Luke Fildes, The Listener New!
Books on Related Topics | Concordance | Text Stats Browse Sample Pages:
Front Cover | Table of Contents | First Pages | Index | Back Cover | Surprise Me!
Citations (learn more)
This book cites 80
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21
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- Vision and Design (Dover Fine Art, History of Art) by Roger Fry on 15 pages
- The Stones Of Venice by John Ruskin on 6 pages
- Virginia Woolf (Ensayo-Biografico) (Spanish Edition) by Quentin Bell on 6 pages
- The Omega Workshops by Judith Collins on 6 pages
- Roger Fry: A Biography by Virginia Woolf on 5 pages
See all 80 books this book cites
- Modernism and the Architecture of Private Life (Gender and Culture Series) by Victoria Rosner in Back Matter (1), Back Matter (2), and Back Matter (3)
- Trespassing Boundaries: Virginia Woolf's Short Fiction by Kathryn N. Benzel in Back Matter (1), and Back Matter (2)
- The Destructive Element: British Psychoanalysis and Modernism by Lyndsey Stonebridge in Back Matter (1), and Back Matter (2)
- Body, Place, and Self in Nineteenth-Century Painting by Susan Sidlauskas in Back Matter (1), and Back Matter (2)
- Ruthless Hedonism: The American Reception of Matisse by John O'Brian in Back Matter (1), and Back Matter (2)
See all 21 books citing this book
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