The Social History of Art: Renaissance, Mannerism, Baroque (Social History of Art (Routledge))

341 Pages·2006·8.91 MB·English

by  Arnold Hauser

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title : Social History of Art. Volume 2, Renaissance, Mannerism,
Baroque 3Rd Ed.
author : Hauser, Arnold.
publisher : Taylor & Francis Routledge
isbn10 | asin : 0415199468
print isbn13 : 9780415199469
ebook isbn13 : 9780203981320
language : English
subject Art and society, Art--History, Art, Modern--History.--19th
century , Art, Modern--History.--20th century , Art et
société , Art--Histoire
publication date : 1999
lcc : N72.S6H3613eb vol. 2
ddc : 709
subject : Art and society, Art--History, Art, Modern--History.--19th
century , Art, Modern--History.--20th century , Art et
société , Art--Histoire
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THE SOCIAL HISTORY OF ART
VOLUME II
‘As much a work of intellectual history as art history, Hauser’s work remains unparalleled in its scope as a
study of the relations between the forces of social change and western art from its origins until the middle of
the 20th century.’
Johanna Drucker, Professor of Art History, State University of New York
‘Harris’s introductions to each volume—dealing with Hauser’s aims, principles, concepts and terms are
extremely useful…. This edition should bring Hauser’s thought to the attention of a new generation of
readers.’
Whitney Davis, Professor of Art History, Northwestern University
First published in 1951 Arnold Hauser’s commanding work presents an account of the development and
meaning of art from its origins in the Stone Age through to the ‘Film Age’. Exploring the interaction between
art and society, Hauser effectively details social and historical movements and sketches the frameworks
within which visual art is produced.
This new edition provides an excellent introduction to the work of Arnold Hauser. In his general introduction
to The Social History of Art, Jonathan Harris assesses the importance of the work for contemporary art
history and visual culture. In addition, an introduction to each volume provides a synopsis of Hauser’s
narrative and serves as a critical guide to the text, identifying major themes, trends and arguments.
Arnold Hauser was born in Hungary and studied literature and the history of art at the universities of
Budapest, Vienna, Berlin and Paris. In 1921 he returned to Berlin to study economics and sociology under
Ernst Troeltsch. From 1923 to 1938 he lived in Vienna where he began work on The Social History of Art. He
lived in London from 1938 until 1977, when he returned to his native Hungary. He died in Budapest in 1978.
Jonathan Harris is Senior Lecturer in Art History and Critical Theory at the University of Keele. He is the
author of Federal Art and National Culture: The Politics of Identity in New Deal America (1995), co-author of
Modernism in Dispute: Art Since The Forties (1993) and co-editor of Art in Modern Culture: An Anthology of
Critical Texts (1992).
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The Social History of Art
Arnold Hauser, with an introduction by Jonathan Harris
Volume I—From Prehistoric Times to the Middle Ages
Volume II—Renaissance, Mannerism, Baroque
Volume III—Rococo, Classicism and Romanticism
Volume IV—Naturalism, Impressionism, The Film Age
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THE SOCIAL HISTORY OF ART
VOLUME II
Renaissance, Mannerism, Baroque
Arnold Hauser
with an introduction by Jonathan Harris

London and New York
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First published in two volumes 1951
This edition published in the Taylor & Francis e-Library, 2005.

To purchase your own copy of this or any of Taylor & Francis or Routledge’s collection of thousands of
eBooks please go to www.eBookstore.tandf.co.uk.
Second edition published in four volumes 1962
by Routledge & Kegan Paul plc
Third edition 1999
© 1951, 1962, 1999 The Estate of Arnold Hauser
Introductions © 1999 Routledge
Translated in collaboration with the author by Stanley Godman
All rights reserved. No part of this book may be reprinted or
reproduced or utilized in any form or by any electronic,
mechanical, or other means, now known or hereafter
invented, including photocopying and recording, or in any
information storage or retrieval system, without permission in
writing from the publishers.
British Library Cataloguing in Publication Data
A catalogue record for this book is available from the British Library
Library of Congress Cataloguing in Publication Data
A catalogue record for this book has been requested
ISBN 0-203-98132-4 Master e-book ISBN
ISBN 0-415-19946-8 (Print Edition) (Vol. II)
ISBN 0-415-19945-X (Print Edition) (Vol. I)
ISBN 0-415-19947-6 (Print Edition) (Vol. III)
ISBN 0-415-19948-4 (Print Edition) (Vol. IV)
ISBN 0-415-21386-X (Set)
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CONTENTS

List of illustrations ix
General introduction xiii
Introduction to volume II xxix

1 The concept of the Renaissance 1
The liberal-individualistic and the aesthetic-sensualistic concept of the Renaissance 3
National and ethnographic criteria 6
The uniformity of the representation as a formal principle 8
The continuity between the Middle Ages and the Renaissance 10
The rationalism of the Renaissance 12
2 The demand for middle-class and courtly art in the Quattrocento 13
The class struggles in Italy at the end of the Middle Ages 13
The struggle for the guilds 15
The rule of the Medici 18
From the heroic age of capitalism to the age of the rentier 19
Giotto and the Trecento 21
The romantic-chivalric art of the North Italian courts 25
The middle-class naturalism of the Florentine Quattrocento 27
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The change of style around the middle of the century 29
The guilds as the trustees of public artistic activity 32
From the founder to the collector 34
The patronage of the Medici 37
Lorenzo and Bertoldo 39
The courtly culture of the Renaissance 40
The stratification of the art public 42
The cultural élite 44
3 The social status of the Renaissance artist 46
Art and craftsmanship 46
The art market 50
The emancipation of the artist from the guild 53
The legend of the artist 57
The Renaissance concept of genius 61
The autonomy of art 65
Scientific tendencies in art 67
Specialization and versatility 70
Dilettantism and virtuosity 71
The humanists 72
4 The classicism of the Cinquecento 75
Rome as a cultural centre 76
Ecclesiastical and secular patronage 78
The ‘maniera grande’ 79
Classicism and naturalism 80
The uniformity in the development of the Renaissance 81
The artistic formalism and formulism of the moral concepts 82
Kalokagathia 84
The perfect courtier as the ideal personality 86
5 The concept of mannerism 88
Manneristic and mannered 88
The relation of mannerism to the classicism of the Renaissance 90
The discovery of mannerism by the present age 91
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Spiritualism and naturalism, form and formlessness 92
The dissolution of space 93
Mannerism and baroque 94
6 The age of political realism 96
The subjugation of Italy 97
The economic predominance of the oceanic nations 99
The beginnings of modern capitalism 100
Social unrest and the Reformation 101
The Catholic reform movement in Italy 103
Michelangelo 104
The idea of political realism 107
Machiavelli 108
The Tridentinum and art 110
The Reformation and art 113
The Counter Reformation and mannerism 114
The art theories of mannerism 116
The idea of the Academy 118
The problem of lay criticism 121
Florentine mannerism 122
The problem of space 123
The courtly character of mannerism 124
Tintoretto 125
Greco 127
Bruegel 128
7 The second defeat of chivalry 131
Romantic chivalry and the rationalism of the century 131
Disillusioned Spain 132
Cervantes 133
Elizabethan England 137
Shakespeare’s political outlook 138
Writers and patrons 144
Shakespeare’s public 146
The preconditions of Shakespearian form 150
Shakespeare and the ‘domestic drama’ 153
Shakespeare’s naturalism 154
Shakespeare’s mannerism 157
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8 The concept of the baroque 158
The ramification of the baroque 158
The impressionism and the revaluation of the baroque 160
Woelfflin’s basic concepts 161
The cosmic outlook on life 166
9 The baroque of the Catholic courts 168
The origins of modern ecclesiastical art 168
Baroque Rome 171
The absolute monarchy and French society 173
French court art 175
The academics and the royal manufactory 179
Academicism 182
Official and unofficial art 184
The nobility and the bourgeoisie in their relationship to classicism 186
The beginnings of modern psychology 187
The salons 188
10 The baroque of the Protestant bourgeoisie 191
Flanders and Holland 191
Middle-class culture in Holland 196
Dutch fine art trade 201
The economic situation of the Dutch painters 202
Rubens and Rembrandt 203

Notes 209
Index 220
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ILLUSTRATIONS

Plate I. 1 Ceiling Painting. Rome, S.Domitilla Catacomb. Photo Alinari
2 Christ with the Apostles. Rome, Sta Pudenziana. Photo Anderson
II. 1 Empress Theodora with Attendants. Ravenna, S.Vitale. Photo Anderson
2 Emperor Justinian and Bishop Maximian. Ravenna, S.Vitale. Photo Alinari
3 Christ with Angels. Ravenna, S.Apollinare Nuovo. Photo Anderson
III. 1 Cruciform page from St. Chad’s Gospels. Lichfield, Cathedral Library. Photo Victoria and Albert
Museum
2 The Arrest of Christ. From the Book of Kells. Dublin, Trinity College. Photo Trinity College Library
IV. 1 Evangelist. From the Codex aureus. British Museum. Photo Brit. Museum
2 Drawing from the Utrecht Psalter. British Museum. Photo Brit. Museum
V. 1 The Last Judgement. Autun, St.-Lazare. Photo Arch. Photogr. d’Art et d’Hist.
2 St. Peter. Moissac, Saint-Pierre. Photo Hurault
3 Scene from the Bayeux Tapestry. Bayeux, Museum, Photo Arch. Photogr. d’Art et d’Hist.
VI. 1 Rider. Bamberg, Cathedral. Photo Marburg, Kunstinstitut
2 Ekkehart and Uta. Naumburg, Cathedral. Photo Marburg, Kunstinstitut
VII. 1 Head. Chartres, Cathedral: Royal Door. Photo Arch. Photogr. d’Art et d’Hist.
2 John the Baptist. Chartres, Cathedral: North Porch. Photo Arch. Photogr. d’Art et d’Hist.
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