By Adrianne Rubin
This new research strains the improvement and evolution of the writings of Roger Fry (1866-1934), a hugely influential artwork critic who brought sleek French portray to Britain within the early 20th century. via shut research of his writings, the writer examines the position that rising mental theories performed within the formula and expression of Fry’s aesthetic theories. She additionally discusses features of physiological psychology, Gestalt idea, psychoanalysis and adaptive psychology, arguing that exact analyses of aesthetic notion include the center of Fry’s writings. notwithstanding he has not often been credited with this aim, this quantity exhibits that Fry sought to make artwork obtainable to a large viewers and that highlighting the common points of aesthetic conception used to be a method to this end.
The e-book bargains a chronological research of opt for essays and lectures, either released and unpublished, written by way of Roger Fry among the Nineties and his dying in 1934. the place proper his writings are juxtaposed with these of alternative paintings critics and theorists to spot elements that formed his pondering and his use of terminology and to elucidate the serious context within which he was once operating. in view that Fry’s paintings as a visible artist ran along his serious considering, a few realization is given to his work as a mode of illustrating his useful experimentation with aesthetic ideas, relatively formalist thoughts.
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Extra resources for Roger Fry's Difficult and Uncertain Science: The Interpretation of Aesthetic Perception
Shif f, Cézanne and the End of Impressionism: A Study of the Theory, Technique, and Critical Evaluation of Modern Art, 3. 84 One of the chief merits of impressionism for Fry, therefore, lies in its recognition of the ever-changing nature of reality, an awareness that squares nicely with its desire to capture and depict a particular moment in time from a uniquely individual perspective. 86 84 Fry, ‘The Philosophy of Impressionism’, 2. An appreciation of such dynamism lies at the core of the ‘process’ philosophy of Henri Bergson, whose writings greatly inf luenced a number of Fry’s Bloomsbury companions.
I, 183. As noted, Fry mentions James’ writing in a letter of 1909 to Henry Rutgers Marshall. , Letters of Roger Fry, Vol. I, 323. Marshall was President of the American Psychological Association in 1907 and he wrote extensively about psychology and aesthetics. , Vol. II, 735. 47 James, The Principles of Psychology, Vol. I, 403–4. The punctuation is James’. , 402. The Centrality of Sensation: 1891–1905 21 According to James, an object attracts attention either by virtue of its force or its nature.
Letters of Roger Fry, Vol. I, 159. 3 As will be discussed in the following chapter, Fry coined the chronologically descriptive label ‘Post-Impressionist’ to describe the work of these artists, though he was well aware that they were not part of an organized, conscious artistic movement. Instead they were a collective borne out of his interest in the principles of formal design. 42 Chapter II As we have seen, Fry established his name in the late 1890s and early 1900s by writing on the art that he regarded most highly, that of the Italian Renaissance.
Roger Fry's Difficult and Uncertain Science: The Interpretation of Aesthetic Perception by Adrianne Rubin