By Alice Cooney Frelinghuysen

Hardback booklet with airborne dirt and dust jacket titled AMERICAN PORCELAIN 1770-1920 through Alice Cooney Frelinghuysen. released via Metropolitan Museum of paintings in 1989. With 221 illustrations of which 169 are in colour. Bookseller given that 1995 (LL-5-top) rareviewbooks

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In other words, if the deepest spiritual manifestation of modernity is that it is difficult for individuals to act meaningfully, then an art that seduces people away from perceiving this crisis must be at least unhelpful and probably harmful. At the very least, it indicates that the artist has given up on making a difference in the world and has him/herself chosen the pleasures of narcissistic retreat as alternative. At the worst, it suggests that he/she is offering such retreat as a seductive alternative to meaningful action.

Xi) It is in the context of this teleological view of the history of modern art that Harries raises the question of the “broken frame”—a question which provides the title for a series of talks about aesthetic modernism and postmodernism that he presented in the late 1980s. 11 The engraving depicts a cowherd and a woman surrounded (within the picture) by a broken octagonal frame, which is itself supported by a peculiar house/ornament. As Harries’s discussion of the picture makes clear, this image has to be understood as part of a rococo tradition of playful framing/representation.

Such a play, then, consumes the frame within the formal field, but, in so doing, destroys the representational nature of that field. When the frame is consumed within the work, all that is left, apparently, is a composition aspiring to presentness, a composition that is antirepresentational. ’ It has itself become an integral element of the aesthetic object and now helps to liberate it from the rule of representation” (Broken, p. 84). ” On the one hand, the devouring of the frame produces a classicizing, formalist tradition that underscores the form divorced from the material elements composing it.

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