TY  - BOOK
AU  - Giedion,Sigfried
TI  - The Eternal Present, Volume I: The Beginnings of Art 
T2  - The A. W. Mellon Lectures in the Fine Arts
SN  - 9780691251912
AV  - N5310 
U1  - 709.011 
PY  - 2023///]
CY  - Princeton, NJ : 
PB  - Princeton University Press, 
KW  - Art, Prehistoric
KW  - ART / History / General
KW  - bisacsh
KW  - Alexander the Great
KW  - Frazer, J. G
KW  - Gillen, F. J
KW  - Hinduism
KW  - ITHYPHALLIC REPRESENTATIONS
KW  - Luquet, G. H
KW  - Luxor
KW  - Min
KW  - PERFORATIONS
KW  - Read, Herbert
KW  - Reinach, Salomon
KW  - SYMBOLS/symbolization/symbolism/symbolic forms
KW  - Saint-Germain-en-Laye, museum
KW  - Spencer, B
KW  - Statius
KW  - Venus figurines/statuettes
KW  - Worringer, Wilhelm
KW  - adornment, desire for
KW  - and origin of art
KW  - and purpose of art
KW  - anonymous
KW  - anxiety/anguish, cosmic
KW  - art as expression of
KW  - art of
KW  - as fertility symbol
KW  - as origin of art
KW  - beginnings of
KW  - birth of
KW  - bâtons de commandement
KW  - formes découpées
KW  - markings made by
KW  - origins of art in
KW  - relation to art
N1  - Frontmatter --; The A. W. Mellon Lectures in the Fine Arts --; ACKNOWLEDGMENTS --; TABLE OF CONTENTS --; INTRODUCTION --; PART I ART A FUNDAMENTAL EXPERIENCE --; Introduction --; The framework --; The symbol --; The animal --; The human figure --; Space conception --; Constancy and change --; PART II THE MEANS OF EXPRESSION IN PRIMEVAL ART --; ABSTRACTION --; TRANSPARENCY, SIMULTANEITY, MOVEMENT --; PART III SYMBOLIZATION --; THE SYMBOL IN PRIMEVAL ART --; HANDS AS MAGIC SYMBOLS --; MANIFOLD MEANINGS OF CIRCULAR FORMS --; FERTILITY SYMBOLS --; THE GREAT SYMBOLS --; PART IV THE SACRED ANIMAL --; Introduction --; Animal cult and high civilizations --; THE ANIMAL AND THE RELIGIOUS IMPULSE --; THE ANIMAL AND TOTEMISM --; THE ANIMAL AND THE EVOLUTION OF PRIMEVAL ART --; THE EARLIEST BEGINNINGS OF ART --; THE MAGDALENIAN ERA --; THE AGE OF SCULPTURE --; THE GREAT COMPOSITIONS --; PART V THE HUMAN FIGURE --; Introduction --; Sculpture in relief and in the round --; VENUS FIGURINES --; FIGURES WITHOUT HEADS --; FEMALE AND MALE RELIEFS --; MASKS AND HYBRID CREATURES --; PART VI THE SPACE CONCEPTION OF PREHISTORY --; Introduction --; Was there a space conception in prehistory? --; On the structure of caverns and architecture --; Freedom of approach to all surfaces --; The coming change --; Prehistoric space conception and contemporary art --; The eternal present --; LIST OF ILLUSTRATIONS --; LIST OF WORKS CITED --; INDEX; restricted access
N2  - A groundbreaking reevaluation of paleolithic art through the lens of modernism, from the acclaimed historian of art and architectureIn The Beginnings of Art, Sigfried Giedion, best known as a historian of architecture, shifts his attention to art and its very origins. Breaking with an earlier, materialistic approach, he explores paleolithic art by bringing abstraction, transparency, and simultaneity into play as modern art has revealed them anew. Focusing on the dual concepts of constancy and change, he examines paleolithic paintings, engravings, and sculpture, as well as modern art and recent examples of “primitive art.” He argues that the two keys to the meaning of prehistoric art are the symbol, portraying reality before reality exists, and the animal as humankind’s superior in the unified primordial world in which both human and animal were embedded. The result is a highly original and important study of prehistoric art
UR  - https://doi.org/10.1515/9780691251912?locatt=mode:legacy
UR  - https://www.degruyter.com/isbn/9780691251912
UR  - https://www.degruyter.com/document/cover/isbn/9780691251912/original
ER  -