Illinois State Library

Illinois Center for the Book

Individual Author Record

General Information

Name:  John Adkins Richardson  

Pen Name: None

Genre: Non-Fiction

Born: 1929 in Gillette, Wyoming

-- John Adkins Richardson on WorldCat --

Illinois Connection

He lives and works in Edwardsville, Illinois.

Biographical and Professional Information

John Adkins Richardson is Professor Emeritus of Art and Design at Southern Illinois University at Edwardsville.

Published Works Expand for more information

Titles At Your Library

Modern art and scientific thought
ISBN: 0252001257

University of Illinois Press. 1971

The author argues that the ideational relationships between the arts and sciences that many critics and historians attest to are delusional. He proposes new and surprising theories that encompass Cubism and the logics of Russell, Hilbert, and Brouwer Seurat and new notions of reality the common ground upon which The Bauhaus, Expressionism, Nazism, and Mannheim's Sociology of Knowledge stand on Cezanne and non-Euclidean geometries. Blue-cloth-bound hardcover with gilt lettering to the spine in a dust jacket. 191 pages 53 half-page b&w reproductions 7.5 x 10 inches. Bibliography. Index.

Art: The Way It Is
ISBN: 0810919117

Harry N Abrams Inc. 1992

Book by Richardson, John Adkins

The complete book of cartooning (Creative handcrafts series)
ISBN: 0131575945

Prentice-Hall. 1977

Demonstrates and explains the fundamentals of drawing faces, full figures, animals, and caricatures of celebrities and friends and offers advice on preparing cartoons for different types of printing processes and getting work published

Basic Design, Systems, Elements, Applications
ISBN: 0130601861

Pearson College Div. 1984

From Pure Visibility to Virtual Reality in an Age of Estrangement (Critical Perspectives on Culture and Society,)
ISBN: 0275960889

Praeger. 1998

Continuities in artistic form from the fourteenth century in Italy to the present are examined, with emphasis on two overriding tendencies: (1) the formalization of visual representations and their interpretations, and (2) the association of that formality with extreme individualism in the Western world. Challenges to the tradition struck only at certain aspects of it (such as strict perspective and the hierarchy of subject matter) but did not undercut such fundamental characteristics as the nature of a given visual space or harmony derived from concentration of elements rather than, for example, cumulative distribution of elements, commonplace in Islamic and Early Christian art. Theories of art history and criticism have expressed the same inclination toward focusing on pictorial form and the contextual implications of it, not just because post-medieval art does so, but also because of the influence of Enlightenment philosophical thought. Kantian epistemology, too, reduces knowledge to form, a development that led theorists of Pure Visibility to establish an abstract formalism in opposition to the doctrines of content in the idealistic aesthetics that had survived from the pre-Christian Era. It is no accident that the development of this theory is coeval with the emergence of modernism, for both are expressive of the same individualistic concept of existence. Attempts to resist the conception of art as order on the grounds that such rationalism is inimical to free thought have ultimately revealed themselves to be alternative versions of what they resist thus, deconstructionism, for example, is hardly more than an extreme formalization of conventional criticism.

Speaking Engagements

Speaking Engagement Availability (Yes)