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Books on the topic 'New classicism'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Nadelman, Elie. Elie Nadelman: 1882-1946 : Elie Nadelman's new classicism. New York: Salander-O'Reilly Galleries, 1997.

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Nadelman, Elie. Elie Nadelman: 1882-1946 : Elie Nadelman's new classicism. New York: Salander-O'Reilly Galleries, 1997.

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3

Jencks, Charles. Post-modernism: The new classicism in art and architecture. New York: Rizzoli, 1987.

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4

Jencks, Charles. Post-modernism: The new classicism in art and architecture. New York: Rizzoli, 1987.

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5

Jencks, Charles. Post-modernism: The new classicism in art and architecture. New York: Rizzoli, 1987.

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6

Jencks, Charles. Post-modernism: The new classicism in art and architecture. London: Academy Editions, 1987.

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7

Jencks, Charles. Post-modernism: The new classicism in art and architecture. London: Academy Editions, 1987.

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8

Cowling, Elizabeth. On classic ground: Picasso, Léger, de Chirico, and the new classicism, 1910-1930. London: Tate Gallery, 1990.

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9

Cowling, Elizabeth. On classic ground : Picasso, Léger, de Chirico, and the new classicism, 1910-1930. London: Tate Gallery, 1990.

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10

Classicism, politics, and kinship: The Chʻang-chou school of new text Confucianism in late imperial China. Berkeley: University of California Press, 1990.

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11

1925-, Nadeau Hugues-W., ed. Michel Anguier's Pluto: The marble of 1669 : new light on the French sculptor's career. London: Athlone Press, 1990.

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12

missing], [name. Between earth and heaven: Nieuwe klassieke bewegingen in de actuele kunst = new classical movements in the art of today. Tielt: Lannoo, 2001.

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13

Clark, Alvin L. From Mannerism to Classicism: Printmaking in France, 1600-1660 : November 6, 1987-January 9, 1988, Yale University Art Gallery, New Haven, Connecticut. New Haven, Conn: The Gallery, 1987.

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14

Classical rhetoric in English poetry: With a new preface and annotated bibliography. Carbondale: Southern Illinois University Press, 1989.

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15

Sian, Irvine, ed. New classics. New York, N.Y: Dorling Kindersley Pub., 2001.

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16

Rhodes, Gary. New British classics. London: BBC, 1999.

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17

New vegetarian classics: Soups. Freedom, CA: Crossing Press, 1994.

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18

Bordays, Frédéric Le. Cocktails: The new classics. San Francisco, CA: Weldon Owen, 2015.

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19

Weldon, Chichester Percival. The New Departure classics. Canaan, N.H: Phoenix Pub., 1986.

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20

International Institute of Tamil Studies, ed. Saṅgam classics: New perspectives. Chennai: International Institute of Tamil Studies, 2010.

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21

New vegetarian classics: Entrées. Freedom, CA: Crossing Press, 1995.

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22

Papadakis, Andreas C. New Classicism. Academy Editions, 1999.

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23

Watson, Harriet, and Andreas C. Papadakis. New Classicism. Wiley, John Sons, 1990.

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24

Papadakis, Andreas C. New Classicism Omnibus. Academy Edns., 1990.

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25

Elie Nadelman's New Classicism. Salander Oreilly Pub, 1997.

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26

Hedberg, Gregory. New York classicism now. Hirschl & Adler Galleries, 2000.

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27

A, Papadakēs, and Watson Harriet, eds. New classicism: Omnibus volume. New York: Rizzoli, 1990.

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28

A, Papadakēs, and Watson Harriet, eds. New classicism: Omnibus volume. London: Academy Editions, 1990.

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29

New Classicism: The Rebirth of Traditional Architecture. Rizzoli International Publications, 2004.

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30

The New classicism in architecture and urbanism. London: Architectural Design, 1988.

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31

Tadgell, Christopher. Antiquity: Origins, Classicism and the New Rome. Taylor & Francis Group, 2017.

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32

Seidmann, Gertrud. Classicism to Neo-Classicism: Essays Dedicated to Gertrud Seidmann (New Horizons in Institutional and Evolutionary Economics). British Archaeological Reports, 1999.

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33

Kahn, Andrew, Mark Lipovetsky, Irina Reyfman, and Stephanie Sandler. Defining classicism. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199663941.003.0015.

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The chapter describes the origins of the classical style, arguing that its elaboration involved experimentation rather than strict adherence to rules. It considers the contribution of three major theorists of the period to norms of language and style, exploring why in the end none could impose a single method. The chapter discusses the culture of literary quarrels, often conducted in witty poetic exchanges and staged comedies. Literary quarrels were a process taking place in the 1750s–1810s which helped stabilize conventions of taste and practice. The chapter features a case study that explains the creation of modern verse in Russia, detailing the basic aspects of prosody and the new metrical system.

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34

Evangelista, Stefano. Cosmopolitan Classicism. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198789260.003.0013.

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Oscar Wilde associated ancient Greece and modern France as the homelands of artistic autonomy and personal freedom. France and the French language were crucial in his adoption of a cosmopolitan identity in which his close emotional and intellectual engagement with the ancient world also played a key role. His practices of classical reception therefore have roots in the French as well as English traditions. Wilde’s attitude towards ancient Greece initially shows the influence of French Parnassian poetry. As time goes on, however, he starts to engage with the new images of the ancient world promoted by Decadence and Symbolism, which sidelined the Greek classicism idealized by the Parnassians in favour of Hellenistic and Latin antiquity. Particularly important to Wilde were his exchanges with French Symbolist authors Marcel Schwob and Pierre Louÿs, whose writings on Hellenistic Greece are in dialogue with Wilde’s works, notably ‘The Critic as Artist’ and Salomé.

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35

Articulating British Classicism: New Approaches to Eighteenth-Century Architecture (Reinterpreting Classicism: Culture, Reaction and Appropriation). Ashgate Publishing, 2004.

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36

1962-, Arciszewska Barbara, and McKellar Elizabeth, eds. Articulating British classicism: New approaches to eighteenth-century architecture. Aldershot, Hants, England: Ashgate, 2004.

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37

New Southern Classicism: The Residential Architecture of Barry Fox. Golden Coast Publishing Company, 2006.

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38

Tadgell, Christ. Antiquity: Origins: Classicism and the new Rome (Architecture in Context ). Routledge, 2009.

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39

The New Classicism in Architecture and Urbanism (Architectural Design Profile). St Martins Pr, 1988.

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40

Tadgell, Christ. Antiquity: Origins: Classicism and the new Rome (Architecture in Context). Routledge, 2007.

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41

Moyer, Ian, Adam Lecznar, and Heidi Morse, eds. Classicisms in the Black Atlantic. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198814122.001.0001.

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This volume presents a series of studies on literary, artistic, and political uses of classical antiquity in modern constructions of race, nation, and identity in the Black Atlantic. In the fraught dialogue between race and classics there emerged new classicisms, products of the diasporic chronotope defined by Paul Gilroy as originating in the violence of the Middle Passage. Contributions to the volume explore the work and thought of writers and artists circulating in the Black Atlantic, and their use of heterogeneous classicisms in representing their identities and experiences, and in critiquing hegemonic Eurocentric or racialized classicism. Ranging across anglophone, francophone, and hispanophone worlds, and coming from an array of disciplinary perspectives including historical and biographical approaches, literary studies, and visual arts, these essays join in the shared goal of examining past and present intersections between classicisms, race, gender, and social status.

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42

On Classic Ground: Picasso, Leger, De Chirico and the New Classicism 1910-1930. Tate Gallery Pubn, 1991.

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43

On Classic Ground: Picasso, Leger, De Chirico and the New Classicism, 1910-1930. Tate Gallery Pubn, 1991.

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44

Schiff, David. A Modernistic Education (1924–1935). Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190259150.003.0004.

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Carter’s formative years in New York, Harvard, and Paris brought him into contact with a broad range of contending and often contradictory aesthetic ideas and musical movements, including primitivism, expressionism, ultra-modernism, and neo-classicism. While in high school he encountered the ideas and music of American ultra-modernists and European modernists, often of an experimental or mystical nature, but at Harvard he was taught the classicist ideas of T.S. Eliot and sang with the Harvard Glee Club in the American premiere of Stravinsky’s neo-classical opera-oratorio Oedipus Rex. While Carter’s neo-classical leanings were encouraged by Walter Piston and Nadia Boulanger, the visionary romantic poetry of Hart Crane presented a different model for an artist’s life and work.

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45

A, Papadakēs, ed. The New classicism in architecture and urbanism: Clive Aslet ... [et al.] / [edited by Andreas C. Papadakis]. London: Academy Group, 1988.

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46

den, Bussche W. van, and Provinciaal Museum voor Moderne Kunst (Ostend, Belgium), eds. Between earth and heaven: Nieuwe klassieke bewegingen in de actuele kunst = new classical movements in the art of today. Oostende PMMK, Museum voor Moderne Kunst: Lannoo, 2001.

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47

1923-1988, Blackmer Henry Myron, and Sotheby's (Firm), eds. The Library of Henry Myron Blackmer II: Sold by order of the executor : days of sale Wednesday 11th, Thursday 12th, Friday 13th October 1989 at 10:30 am and 2:00 pm in the large gallery, 34-35 New Bond Street, London W1 ... London: Sotheby's, 1989.

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48

A new history of modern architecture: Art nouveau, the beaux-arts, expressionism, modernism, constructivism, art deco, classicism, brutalism, postmodernism, neo-rationalism, high tech, deconstructivism, digital futures. Laurence King Publishing, 2017.

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49

Shields, Anna. Classicisms in Chinese Literary Culture. Edited by Wiebke Denecke, Wai-Yee Li, and Xiaofei Tian. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199356591.013.26.

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The tradition of classical studies in China after the fall of the Han continued to flourish, though in changing forms from the period of division through the end of the Tang dynasty. The ongoing relevance of the Classics and the Masters Texts to both the educational and institutional systems of successive dynasties guaranteed that elites would sustain a heritage of scholarship and transmit commentaries over generations. And yet the classicist tradition was not merely a static corpus of commentary on “dead” texts but rather a dynamic and stimulating body of knowledge that inspired new literary compositions, philosophical reflection, and ultimately new styles of writing, both poetry and prose. This chapter traces the most important classicist revivals and the most prolific and influential writers in the classicist tradition, including authors such as Yuan Jie, Li Hua, Han Yu, Bai Juyi, and others.

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50

Tate, Ken. New Classicists: Ken Tate (New Classicists). Images Publishing Dist A/C, 2006.

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