The Outwardness of Art: Selected Writings of Adrian Stokes
Edited with introduction by Thomas Evans.
The first comprehensive selection of writings by British art theorist Adrian Stokes—the first to make a sustained synthesis of aesthetics and psychoanalysis, and one of modernism’s great stylists
Immensely influential and beloved by artists, writers and theorists alike, Adrian Stokes (1902–72) was the last of the great British amateur art historians in the tradition of Ruskin and Berenson, and—as the first art theorist to synthesize aesthetics and psychoanalysis—the first of the moderns. Since the publication of his groundbreaking Faber books The Quattro Cento and Stones of Rimini in the 1930s, Stokes' writing has enjoyed an incredibly diverse readership across disciplines from psychoanalysis to literature and art, from Ernst Gombrich to Meyer Shapiro, Ben Nicholson to Philip Guston, Ezra Pound to John Ashbery. The singular breadth of his fan base reflects the diverse milieux in which he moved (whether the Bloomsbury of the Sitwells, Melanie Klein's London acolytes, Ezra Pound's circle or the St Ives artists). And yet it has been nearly 45 years since a broad introduction to his work was commercially available. In the wake of a recent biography, critical studies and reprints of individual volumes, this volume presents a substantial selection from Stokes’ published writings, highlighting him as a pioneering thinker of art and a virtuoso of the essay form.
In 1972, the year of Stokes' death, the philosopher and art historian Richard Wollheim edited a selection of his writings, published by Penguin and titled The Image in Form. Wollheim’s selection drew from famous books such as The Quattro Cento, Stones of Rimini, Colour and Form, Inside Out, Smooth and Rough and others. This volume also draws on these classic texts (presenting entire essays and chapters rather than selections), and significantly expands the selection with the addition of important essays published posthumously and Stokes’ superb ballet writings of the 1920s. This book introduces one of the 20th century's great prose stylists and most nuanced aesthetic theorists for a new audience.
PRAISE AND REVIEWS
The Brooklyn Rail
Jonah Goldman Kay
Evans’s inclusion of Stokes’s ballet writings, as well as a fascinating essay on Mickey Mouse, reveal the writer’s prescient genre-bending approach. Likewise, Stokes’s demand that art expose itself to the viewer and that the viewer, in turn, interrogate their own interest is a timeless testament to the subjectivity of art writing.
Hyperallergic
Michael Glover
The Outwardness of Art is a single-volume compendium of some of the best words ever written by this most subtle and wide-ranging of aesthetic theorists.
American Imago
Janet Sayers
With this selection from Stokes’s writings, Evans successfully conveys more or less psychoanalytically informed observations regarding the impact of art and the external world more generally on the internal world of the mind
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FROM THE BOOK
Excerpt from "Inside Out" (1947)
[Cézanne] strove to find for his canvas neither a tendency nor an echo of a mood, a waxing nor a waning: he strove for his senses to reveal, for his mind to re-create, a quintessential structure. And so he hurried away from all the incidental music of things. Yet Cézanne’s painting cannot be called a conceptual art, for it is with the extreme complication of actual, even momentary, appearance that he philosophizes. The observational truth of light, space, colour, tone and mass in their subtlest, no less than in their generalized, modes, are the sole materials of his structure. The otherness of the outside world is affirmed, not mitigated, by the intrusion of this artist’s organizing mind. His art needed a constant exercise in observation, for each new canvas a forcible detachment from the preconceived; endless thought, endless vigilance for every inch of the picture space. There was discouragement, timidity, self distrust. But, for once, it is not agonies of mind that point the moral. Cézanne wrestled alone with the Provençal landscape, and his vision, which did harm to no one, yet sums all human activity.
This week, we're highlighting some recommended reading from The Outwardness of Art: Selected Writings of Adrian Stokes, the first comprehensive selection of writings by the noted British art theorist known for his synthesis of aesthetics and psychoanalysis. The product of more than a decade of devout research by editor Thomas Evans, it is the first broad introduction in almost half a century. Below is an excerpt from Evans' Introduction. continue to blog
FORMAT: Pbk, 6 x 8.5 in. / 592 pgs. LIST PRICE: U.S. $27.50 LIST PRICE: CANADA $39.95 ISBN: 9781909932487 PUBLISHER: Ridinghouse AVAILABLE: 4/21/2020 DISTRIBUTION: D.A.P. RETAILER DISC: TRADE PUBLISHING STATUS: Active AVAILABILITY: In stock TERRITORY: NA ONLY
The Outwardness of Art: Selected Writings of Adrian Stokes
Published by Ridinghouse. Edited with introduction by Thomas Evans.
The first comprehensive selection of writings by British art theorist Adrian Stokes—the first to make a sustained synthesis of aesthetics and psychoanalysis, and one of modernism’s great stylists
Immensely influential and beloved by artists, writers and theorists alike, Adrian Stokes (1902–72) was the last of the great British amateur art historians in the tradition of Ruskin and Berenson, and—as the first art theorist to synthesize aesthetics and psychoanalysis—the first of the moderns. Since the publication of his groundbreaking Faber books The Quattro Cento and Stones of Rimini in the 1930s, Stokes' writing has enjoyed an incredibly diverse readership across disciplines from psychoanalysis to literature and art, from Ernst Gombrich to Meyer Shapiro, Ben Nicholson to Philip Guston, Ezra Pound to John Ashbery. The singular breadth of his fan base reflects the diverse milieux in which he moved (whether the Bloomsbury of the Sitwells, Melanie Klein's London acolytes, Ezra Pound's circle or the St Ives artists). And yet it has been nearly 45 years since a broad introduction to his work was commercially available. In the wake of a recent biography, critical studies and reprints of individual volumes, this volume presents a substantial selection from Stokes’ published writings, highlighting him as a pioneering thinker of art and a virtuoso of the essay form.
In 1972, the year of Stokes' death, the philosopher and art historian Richard Wollheim edited a selection of his writings, published by Penguin and titled The Image in Form. Wollheim’s selection drew from famous books such as The Quattro Cento, Stones of Rimini, Colour and Form, Inside Out, Smooth and Rough and others. This volume also draws on these classic texts (presenting entire essays and chapters rather than selections), and significantly expands the selection with the addition of important essays published posthumously and Stokes’ superb ballet writings of the 1920s. This book introduces one of the 20th century's great prose stylists and most nuanced aesthetic theorists for a new audience.