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Composers and artists have always borrowed from each other. Peter Vergo, for the first time, offers an in-depth study of how and why, in the modernist era, music and painting became intertwined. Artist-composer relationships examined include Debussy's interest in Whistler, Tuner, and Monet, Franz Liszt's fascination with Raphael and Michelangelo, Kandinsky with Schoenberg and Paul Klee's influence from Polyphonic music. How artists attempted to translate musical rhythms, and structures into painting and how musicians developed visual themes, all within the backdrop to modernism, as time of huge change in freedoms, industry, expression, ideological frameworks, and artistic practice.
Composers and artists have always borrowed from each other. Peter Vergo, for the first time, offers an in-depth study of how and why, in the modernist era, musi
Bogue provides a systematic overview and introduction to Deleuze's writings on music and painting, and an assessment of their position within his aesthetics as
This collection of essays by musicologists and art historians explores the reciprocal influences between music and painting during the nineteenth century, a cri
A talented violinist as well as a painter, Klee drew much of the inspiration for his abstract art from musical rhythms and structures. Like a composer, he devel
A sequel to Phaidon's That Divine Order, (2005), which surveyed the relationship between music and the visual arts from ancient times until the mid-eighteenth c
