The Prints of Paul Sandby (1731-1809): A Catalogue Raisonné
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Book Series
Harvey Miller - Art History (Outside a Series)
- Pages: approx. 240 p.
- Size:220 x 280 mm
- Illustrations:124 col.
- Language(s):English
- Publication Year:2025
- € 145,00 EXCL. VAT RETAIL PRICE
- ISBN: 978-1-915487-66-7
- Hardback
- Forthcoming (Jul/25)
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This book discusses theoretical questions crucial to artistic debates in the period 1950–1980.
BIO
Lorenzo Pericolo is the Vincent V. and Agatha Thursby Professor and Chair of the Department of Art History, Florida State University. He has published extensively on Renaissance and Baroque art.
Summary
Gilles Deleuze’s The Fold (1988) is a vast reflection not only on Leibniz’s monadology, but also on the present and future of a new culture informed by a neo-Leibnizian approach to philosophy and the arts. Deleuze’s baroque is both a transhistorical epistemic model and an artistic manifesto. It proposes a “way of being” that thrives on a notion of “identity” as inherently manifold, potentially contradictory, open-ended, and contingent on infinity. It also outlines the principles of a contemporary aesthetics that relies on the work and theory of artists as varied as Paul Klee, Jean Dubuffet, Simon Hantaï, and Tony Smith. In a neo-baroque society, the work of art becomes an objectile, a self-modulating machine able to operate through the input, but without the intervention, of an author. Focusing also on Deleuze and Guattari’s What is Philosophy? (1991), this book discusses theoretical questions crucial to artistic debates in the period 1950–1980: art as philosophy; artistic thinking as opposed or germane to philosophical (and scientific) thinking; painting and sculpture as metaphysical operations; the ground as both the origin and negation of art; color as the degree zero of painting; authorless art; and art as infinity. The final section of the book centers on Peter Eisenman’s theory and work in the aftermath of Deconstructivism.
