132:
he spent two years in Italy, familiarizing himself with
Italian art. In 1921, he moved to Berlin, and in 1924 to Vienna. By that time he had concluded, in his own words, that “the problem of art and literature, in the solution of which our time is most eagerly engaged, are fundamentally sociological
203:
that Hauser's “theoretical prejudices may have thwarted his sympathies. For to some extent they deny the very existence of what we call the ’humanities’. If all human beings, including ourselves, are completely conditioned by the economic and social circumstances of their existence then we really
159:
in
Budapest. It was in Budapest that Hauser published his first writings, between 1911 and 1918, including his doctoral dissertation about the problem of creating a systematic aesthetics, which appeared in the journal
207:
Some scholars have argued that
Gombrich saw Hauser as a typical exponent of Marxism, without appreciating his nuances and subtle critique of the most rigid forms of social determinism.
171:(1951), argued that art—which, after a paleolithic period of naturalism, began as "flat, symbolic, formalized, abstract and concerned with spiritual beings"—became more
333:
Eine sozialhistorische Sicht auf Kunst und
Gesellschaft. (Annotation zur Herausgabe der Sozialgeschichte... im Verlag der Kunst, Dresden, 1987)
467:
482:
267:
302:
Kunst, Kunstwissenschaft und
Soziologie. Zur Theorie und Methodendiskussion in Arnold Hausers „Soziologie der Kunst“
477:
472:
388:
Csilla Markója (2019), “The young Arnold Hauser and the Sunday Circle - The publication of Hauser’s estate”,
112:
Hauser studied history of art and literature in
Budapest, Vienna, Berlin and Paris. Among his teachers were
487:
148:. This led to Hauser's systematic study of theater and, later, cinema as parts of the larger world of art.
248:
kleiner
Sammelband mit drei Interviews und dem Essay „Variationen über das tertium datur bei Georg Lukács“
367:
Csilla Markója, “The young Arnold Hauser and the Sunday Circle - The publication of Hauser’s estate”,
164:
in 1918. He published very little in the next 33 years, devoting himself to research and travel.
462:
457:
8:
141:
152:
137:
263:
176:
101:
321:
113:
45:
196:
172:
125:
432:
Jim
Berryman (2017), “Gombrich’s Critique of Hauser’s Social History of Art,”
232:
Der
Manierismus. Die Krise der Renaissance und der Ursprung der modernen Kunst
451:
156:
145:
121:
93:
117:
354:
41:
129:
360:
Jim
Berryman, “Gombrich’s Critique of Hauser’s Social History of Art,”
234:(Mannerism: The Crisis of the Renaissance and the Origin of Modern Art)
199:
as “social determinism” going too far. Gombrich wrote in his review of
180:
184:
419:
Ernst Gombrich (1953),“The Social History of Art by Arnold Hauser”,
61:
179:
as societies became less hierarchical and authoritarian, and more
97:
65:
136:
Another crucial influence on Hauser was Hungarian philosopher
277:
Hauser, Arnold: Art, histoire sociale et méthode sociologique
260:
Art and social theory: sociological arguments in aesthetics
92:(8 May 1892 – 28 January 1978) was a Hungarian-German
151:
He embraced Marxism by first reading the writings of
100:
in the field. He wrote on the influence of change in
140:, which transmitted to Hauser an interest for both
204:cannot understand the past by ordinary sympathy.”
449:
195:Hauser's Marxist approach was criticized by
155:, then meeting him and becoming part of his
96:and sociologist who was perhaps the leading
281:Annales. Economies, Societes, civilisations
220:(The Social History of Art and Literature)
353:. Berlin 36 (1990) 6, p. 210–228. (
218:Sozialgeschichte der Kunst und Literatur
450:
294:. Budapest: 16(1975)58, p. 90–96.
107:
262:. Wiley-Blackwell, pp. 64–68.
13:
339:. Berlin: 35(1988)12, p. 572.
318:. In: Alphons Silbermann (Hrsg.):
14:
499:
443:
325:. Beck, München 1979. S. 200–222.
167:His life's work, the four volume
364:, vol. 43, no. 5, 2017, 494–506.
375:
347:Zum Kunstkonzept Arnold Hausers
283:. Paris: 12(1957)3, S. 474–481.
227:(The Philosophy of Art History)
225:Philosophie der Kunstgeschichte
426:
413:
404:
395:
382:
1:
390:Journal of Art Historiography
369:Journal of Art Historiography
252:
246:Im Gespräch mit Georg Lukács
190:
7:
292:The new Hungarian quarterly
288:In Arnold Hauser’s workshop
258:Harrington, Austin (2004).
210:
10:
504:
436:, vol. 43, no. 5, 494-506.
75:Art historian, sociologist
434:History of European Ideas
362:History of European Ideas
201:The Social History of Art
79:
71:
51:
28:
21:
483:Hungarian art historians
314:JĂĽrgen Scharfschwerdt:
16:Hungarian art historian
478:Hungarian sociologists
468:Writers from Timișoara
401:Markója (2019), 15–17.
241:(The Sociology of Art)
473:Hungarian art critics
169:Social History of Art
410:Markója (2019), 7–9.
239:Soziologie der Kunst
83:Hungarian and German
488:Sociologists of art
142:William Shakespeare
108:Life and Main Works
308:. 1/1976, S. 3–10.
138:Bernhard Alexander
371:, 21, 2019, 1–20.
351:Weimarer Beiträge
275:Alberto Tenenti:
102:social structures
87:
86:
495:
437:
430:
424:
417:
411:
408:
402:
399:
393:
386:
344:
330:
313:
299:
274:
128:in Paris. After
58:
38:
36:
19:
18:
503:
502:
498:
497:
496:
494:
493:
492:
448:
447:
446:
441:
440:
431:
427:
418:
414:
409:
405:
400:
396:
387:
383:
378:
342:
328:
322:Kunstsoziologie
311:
297:
286:Zoltán Halász:
272:
255:
213:
193:
110:
60:
56:
55:28 January 1978
46:Austria-Hungary
40:
34:
32:
24:
17:
12:
11:
5:
501:
491:
490:
485:
480:
475:
470:
465:
460:
445:
444:External links
442:
439:
438:
425:
412:
403:
394:
380:
379:
377:
374:
373:
372:
365:
358:
340:
337:Bildende Kunst
326:
320:Klassiker der
309:
300:Ekkehard Mai:
295:
284:
270:
254:
251:
250:
249:
242:
235:
228:
221:
212:
209:
197:Ernst Gombrich
192:
189:
187:(Harrington).
126:Gustave Lanson
109:
106:
85:
84:
81:
77:
76:
73:
69:
68:
59:(aged 85)
53:
49:
48:
30:
26:
25:
22:
15:
9:
6:
4:
3:
2:
500:
489:
486:
484:
481:
479:
476:
474:
471:
469:
466:
464:
461:
459:
456:
455:
453:
435:
429:
422:
416:
407:
398:
391:
385:
381:
370:
366:
363:
359:
356:
352:
348:
345:K.-J. Lebus:
341:
338:
334:
331:K.-J. Lebus:
327:
324:
323:
317:
316:Arnold Hauser
310:
307:
306:Das Kunstwerk
303:
296:
293:
289:
285:
282:
278:
271:
269:
268:0-7456-3038-3
265:
261:
257:
256:
247:
243:
240:
236:
233:
229:
226:
222:
219:
215:
214:
208:
205:
202:
198:
188:
186:
182:
178:
174:
170:
165:
163:
158:
157:Sonntagskreis
154:
153:György Lukács
149:
147:
146:Immanuel Kant
143:
139:
134:
131:
127:
123:
122:Henri Bergson
119:
115:
105:
103:
99:
95:
94:art historian
91:
90:Arnold Hauser
82:
78:
74:
70:
67:
63:
54:
50:
47:
43:
31:
27:
23:Arnold Hauser
20:
433:
428:
421:Art Bulletin
420:
415:
406:
397:
389:
384:
368:
361:
350:
346:
336:
332:
319:
315:
305:
301:
291:
287:
280:
276:
259:
245:
238:
231:
224:
217:
206:
200:
194:
177:naturalistic
168:
166:
161:
150:
135:
118:Georg Simmel
111:
89:
88:
57:(1978-01-28)
463:1978 deaths
458:1892 births
343:(in German)
329:(in German)
312:(in German)
298:(in German)
273:(in French)
133:problems.”
130:World War I
120:in Berlin,
116:in Vienna,
80:Citizenship
452:Categories
376:References
253:References
181:mercantile
114:Max Dvořák
72:Occupation
39:8 May 1892
35:1892-05-08
392:21, 1–20.
191:Criticism
185:bourgeois
173:realistic
162:Athenaeum
42:Timișoara
211:Writings
104:on art.
62:Budapest
423:35, 81.
98:Marxist
66:Hungary
355:online
349:. In:
335:. In:
304:. In:
290:. In:
279:. In:
266:
244:1978:
237:1974:
230:1964:
223:1958:
216:1951:
264:ISBN
183:and
175:and
144:and
124:and
52:Died
29:Born
454::
64:,
44:,
357:)
37:)
33:(
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.