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The Dehumanization of Art and Other Essays on Art, Culture, and Literature is the first English translation of philosopher José Ortega y Gasset's La deshumanización del Arte e Ideas sobre la novela, published in 1925. This composition includes three more essays in addition to Ortega's original work.
Dehumanization is the denial of full humanity in others along with the cruelty and suffering that ... martyrdom art was most often a means of deifying the oppressed ...
Eugenio d'Ors Rovira (Barcelona, 28 September 1882 – Vilanova i la Geltrú, 25 September 1954) was a Spanish writer, essayist, journalist, philosopher and art critic. He wrote in both Catalan and Spanish, sometimes under the pseudonym of Xènius (pronounced). Medallion showing a profile relief of D'Ors, by F. Marés.
He finds himself immersed in the heated discussion of the poets of his generation as to whether Symbolism, art as pure abstraction, meant the dehumanization of art. Brull made clear that poetry was the purification of thought and form, but never abstraction. Nevertheless, Symbolism and dehumanization were firmly linked in the minds of many.
He was also an art director prior to going full-time in his visual art practice in the 1960s. His early (1940s–1960s) works, alongside those of peer, Hernando Ocampo are described as depictions of anguish and dehumanization of beggars and laborers in the city. These include Man and Woman (alternatively known as Beggars) and Gadgets.
Hosted at the Colony Hotel, the sold out summit would featured a range of speakers highlighting the dangerous rise of antisemitism.
The art historian Svetlana Alpers suggests that, by portraying the artist at work in the company of royalty and nobility, Velázquez was claiming high status for both the artist and his art, [65] and in particular to propose that painting is a liberal rather than a mechanical art. This distinction was a point of controversy at the time.
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