Charles Harrison Boeken

The book delves into Salem County's unique dual identity as both an agricultural center and an industrial hub in New Jersey. Highlighting its early growth through farming, particularly tomatoes, it traces the development of towns like Elsinboro and Pilesgrove. The narrative also explores the impact of mills, glass manufactories, and the transformative arrival of DuPont in the late nineteenth century. Local historian Charles Harrison provides a comprehensive account of the region's rich and unusual history, capturing its cultural and economic evolution.

Provides an overview of the supply chain process and addresses key aspects involved in a supply chain. This book includes a checklist to enable an assessment of a company's procedures and the facilities it offers. It offers a list of questions which helps to identify and subsequently address the weaknesses in the management of the supply chain. schovat popis

Art in Theory 1815-1900 is the most wide-ranging and comprehensive collection of documents ever assembled on 19th century theories of art. Like its highly successful companion volume, Art in Theory 1900-1990, this indispensable volume provides the documentary material for informed and up-to-date study. Its 236 texts, clear organization, and considerable editorial content help to create the essential guide to art theory of the period. The anthology also provides a view of the wider cultural debates of the 19th century, and the development of modern aesthetic theories.Art in Theory combines writings by artists, critics, philosophers, and literary figures -- some reprinted in their entirety, others excerpted from longer works. About 1/3 of the material is composed of new translations, with texts drawn from French, German, Italian, Norwegian, and Russian sources. It examines a broad range of themes including concepts of genius and originality, modes of landscape painting, approaches to Realism, the question of Modernity and debates over Impressionism, theories of optics and color, the aesthetics of photography, and the rise of photography. Each section is prefaced by an essay that situates the ideas of the period in their historical context, while relating theoretical concerns and debates to developments in the practice of art. Each text is briefly introduced by an outline giving the circumstances of its original appearance and indicating its relevance to the development of modern artistic theory. An extensive bibliography is also provided.

This chilling account of life in the trenches, of rat-infested decay and vicious mechanized killing, continues to bring readers face to face with the ugly realities of warfare.

Art in Theory 1815-1900 provides the most wide-ranging and comprehensive collection of documents ever assembled on nineteenth-century theories of art.

Modern Art and Modernism offers first-hand material for the study of issues central to the development of modern art, its theory and criticism. The history of modern art is not simply a history of works of art, it is also a history of ideas and interpretations. The works of critics and theorists have not merely been influential in deciding how modern art is to be seen and understood, they have also influenced the course it has taken. The nature of modern art cannot be understood without some analysis of the concept of Modernism itself. Modern Art and Modernism presents a selection of texts by the major contributors to debate on this subject, from Baudelaire to Zola in the 19th century to Greenburg and T J Clark on our own times. It offers a balanced selection of essays by contributors to the mainstream of Modernist criticism, representative examples of writing on the themes of abstraction and expressionism in modern art, and a number of important contributions to the discussion of aesthetics and the social role of the artist.

Exploring the pivotal role of the picture plane in modern painting, this work delves into the intricate relationships between artists, subjects, and viewers, particularly focusing on the representation of women. Charles Harrison argues that female subjects not only engage viewers but also reflect the gender anxieties of their time. Through analyses of renowned artists from Renoir to Cindy Sherman, he intertwines cultural criticism and social history, supported by vivid illustrations that enhance the reader's understanding of his interpretations and the significance of gender in art.

At once engaging, personal, and analytical, this book provides the intellectual resources for the critical understanding of art Charles Harrison’s landmark book offers an original, clear, and wide-ranging introduction to the arts of painting and sculpture, to the principal artistic print media, and to the visual arts of modernism and post-modernism. Covering the entire history of art, from Paleolithic cave painting to contemporary art, it provides foundational guidance on the basic character and techniques of the different art forms, on the various genres of painting in the Western tradition, and on the techniques of sculpture as they have been practiced over several millennia and across a wide range of cultures. Throughout the book, Harrison discusses the relative priorities of aesthetic appreciation and historical inquiry, and the importance of combining the two approaches. Written in a style that is at once graceful, engaging, and personal, as well as analytical and exact, this illuminating book offers an impassioned and timely defense of the importance and value of the firsthand encounter with works of art, whether in museums or in their original locations.

Critical and theoretical essays by a long-time participant in the Art & Language movement. These essays by art historian and critic Charles Harrison are based on the premise that making art and talking about art are related enterprises. They are written from the point of view of Art & Language, the artistic movement based in England—and briefly in the United States—with which Harrison has been associated for thirty years. Harrison uses the work of Art & Language as a central case study to discuss developments in art from the 1950s through the 1980s. According to Harrison, the strongest motivation for writing about art is that it brings us closer to that which is other than ourselves. In seeing how a work is done, we learn about its achieved identity: we see, for example, that a drip on a Pollock is integral to its technical character, whereas a drip on a Mondrian would not be. Throughout the book, Harrison uses specific examples to address a range of questions about the history, theory, and making of modern art—questions about the conditions of its making and the nature of its public, about the problems and priorities of criticism, and about the relations between interpretation and judgment.

This popular anthology of twentieth-century art theoretical texts has now been expanded to take account of new research, and to include significant contributions to art theory from the 1990s.New edition of this popular anthology of twentieth-century art-theoretical texts. Now updated to include the results of new research, together with significant contributions from the 1990s. Includes writings by critics, philosophers, politicians and literary figures. The editors provide contextual introductions to 340 texts. Complements Art in Theory, 1648–1815 and Art in Theory, 1815–1900 to create a complete survey of the theories underpinning the development of art in the modern period.