Adrian Stokes (1902-1972) was a British painter and author whose writings on art have been allowed to go out of print despite their impact on modernism and ongoing acclaim. Tow of his most influential books, "The Quattro Cento" (1932) and "Stones of Rimini" (1934), are bought together in this volume, which includes all their original illustrations. The forward and introduction place Stokes's works in the context of early 20th-century culture and discuss their structure and relevance to today's experience of art and architecture. The books reproduced here mark a crossroads in the transition from late Victorian to modernist conceptions of art, especially sculpture and architecture. Stokes continued, even extended, John Ruskin's and Walter Peter's belief that art is essential to the individual's proper psychological development, but wove their new teaching into a new aesthetic shaped by his analysis with Melanie Klein and recent innovations in literature, dance and the visual arts.

Cr�ticas

"Recollected in tranquillity, Renaissance sculpture shines more brightly because Adrian Stokes polished the stone."-Michael Ann Holly, Art Bulletin "Yet the greatest accolade that can be given to this new paperback edition and the scholars who contributed introductions to it is the fact that the intention is that of getting Stokes's writings read. And this handsome edition, which retains the original illustrations, does precisely that."-Gabriele Neher, The Art Book "This is an important work in the history of ideas, and essential reading for any student of Adrian Stokes. A very rewarding book."-Patrick Hutchings, Senior Fellow, Department of Philosophy, Australian Art Review "This welcome reissue prints both texts and photographs in as generous as a format as the originals, with illuminating introductory essays by Stephen Bann, David Carrier and Stephen Kite.This reprint offers a world of insight that most contemporary writing about art still keeps at a distance." -Martin Golding, Times Literary Supplement "Adrian Stokes's thought runs counter to all the orthodoxies of the present. He believed in Art. It was the antithesis of mass culture. He believed that it was our fate to see the inner life, our emotions good and bad, mirrored in the outside world; and that in very complex ways art symbolized that mirroring. The only thing that distinguished art from other useless activities was Form. He used that word in a way that was his alone. Art was present to him all at once, not qualified in an important way by precedence or chronology. Insisting on Art's outwardness, his starting point was material: the sculptor's stone or clay, the painter's color and canvas. He assumed that the viewer would summon to the contemplation of art, body-memories of hard and soft, texture and light, holes and solids, near and far, as well as the fantasies that attend those memories. The power of art was reparative. It projected wholeness.Stokes wrote about these things with the passion of a great teacher and with the imaginative insight of a poet. His was a unique voice." -Andrew Forge, Yale University "The republishing of these books is much to be welcomed. In them, Stokes examines fifteenth-century Italian sculpture and architecture from a point of view that has a particular resonance today. He achieved an unusual and compelling integration of art historical, art critical and aesthetic analysis. He also thought more deeply and wrote more eloquently about the aesthetics of sculpture and about the relation between sculpture and the architecture than any other writer on art of his time."-Alex Potts, University of Michigan "`Poeta che mi guida': I can think of no better words, the words of Dante about Virgil, to describe Stokes as a critic of the arts."-Richard Wollheim, Image in Form

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