Last Lectures
Condition: SECONDHAND
This is a secondhand book. The jacket image is a photograph of the exact copy we have in stock. This image shows the condition of this book. Further condition remarks are below.
Condition remarks:
Condition: Good to fair. Paperback. Page Condition: Good - possible tanning. Markings: possible previous owner inscription.
At the intersection of aesthetic philosophy and art criticism stands Roger Fry's Last Lectures, a posthumous collection drawn from the final series of talks delivered by one of the twentieth century's most influential voices in art theory. Slade Professor of Fine Arts at the University of Cambridge, Fry brought his signature intellectual rigour to bear on questions of form, beauty, and the nature of aesthetic experience — cementing a legacy that had already transformed how the Western world understood Post-Impressionism and the relationship between the viewer and the artwork. With an introduction by the eminent Kenneth Clark, this volume carries an added layer of curatorial authority, situating Fry's final thoughts within a broader art-historical conversation. Fry's prose is precise yet passionate, anchored in formalist theory while remaining accessible to the cultivated general reader. Last Lectures stands as both a fitting capstone to a remarkable intellectual career and an enduring provocation — what, Fry ultimately asks, do we truly see when we stand before a work of art?
Author: Roger Fry
Format: Paperback
Genre: History of arts
Condition remarks:
Condition: Good to fair. Paperback. Page Condition: Good - possible tanning. Markings: possible previous owner inscription.
At the intersection of aesthetic philosophy and art criticism stands Roger Fry's Last Lectures, a posthumous collection drawn from the final series of talks delivered by one of the twentieth century's most influential voices in art theory. Slade Professor of Fine Arts at the University of Cambridge, Fry brought his signature intellectual rigour to bear on questions of form, beauty, and the nature of aesthetic experience — cementing a legacy that had already transformed how the Western world understood Post-Impressionism and the relationship between the viewer and the artwork. With an introduction by the eminent Kenneth Clark, this volume carries an added layer of curatorial authority, situating Fry's final thoughts within a broader art-historical conversation. Fry's prose is precise yet passionate, anchored in formalist theory while remaining accessible to the cultivated general reader. Last Lectures stands as both a fitting capstone to a remarkable intellectual career and an enduring provocation — what, Fry ultimately asks, do we truly see when we stand before a work of art?