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Autor(en): 
  • Barbara Larson
  • The Dark Side of Nature: Science, Society, and the Fantastic in the Work of Odilon Redon 
     

    (Buch)
    Dieser Artikel gilt, aufgrund seiner Grösse, beim Versand als 3 Artikel!


    Übersicht
     
    Lieferstatus:   i.d.R. innert 14-24 Tagen versandfertig
    Veröffentlichung:  2005  
    Genre:  Architektur, Archäologie, Kunst 
    ISBN:  9780271024677 
    EAN-Code: 
    9780271024677 
    Verlag:  Pennsylvania State University Press 
    Einband:  Kartoniert  
    Sprache:  English  
    Dimensionen:  H 247 mm / B 284 mm / D 22 mm 
    Gewicht:  1394 gr 
    Seiten:  384 
    Illustration:  187 Halftones, black and white 
    Bewertung: Titel bewerten / Meinung schreiben
    Inhalt:
    "Disturbing," "hallucinatory" --words that evoke pathology rather than history--have long framed our understanding of Odilon Redon (1840-1916), a French artist admired by the Surrealists as a precursor in their exploration of the irrational. In this book, Barbara Larson takes a radically different view of Redon, one that does not attempt to deny him melancholia but does go a long way toward dismantling the paradigm that treats the cult of the irrational as the essential condition of his work. Larson instead contends that Redon should be seen as a gifted mediator of a context in which new scientific ideas mingled with the fears of social and racial decadence widespread in France after the debacle of the Franco-Prussian War. Larson begins by investigating Redon's early years in the Bordeaux region, where he met Armand Clavaud, a botanist who encouraged his interest in the mixture of botany, geology, zoology, and landscape studies then called Naturalism, Subsequent chapters integrate Redon's concentration upon black-and-white graphic media and his absorption of Darwin's teachings and new trends in physiology, psychology, and microbiology. All this enables Larson to offer insightful readings of Redson's predilection for bizarre, polymorphous forms. The Dark Side of Nature demonstrates that at least insofar as Redon is concerned, late-nineteenth-century science meant not postitivistic engagement with a stable material world, but rather the exploration of vast "invisible" realms, from microbes to electricity. With its clear exposition of scientific though, Larson's book will undoubtedly make a significant contribution not only to Redon studies but also to the interdisciplinary study of artand science.

      



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