An authoritative history of art history from its medieval origins to its modern predicaments
In this wide-ranging and authoritative book, the first of its kind in English, Christopher Wood tracks the ...evolution of the historical study of art from the late middle ages through the rise of the modern scholarly discipline of art history. Synthesizing and assessing a vast array of writings, episodes, and personalities, this original and accessible account of the development of art-historical thinking will appeal to readers both inside and outside the discipline.
The book shows that the pioneering chroniclers of the Italian Renaissance-Lorenzo Ghiberti and Giorgio Vasari-measured every epoch against fixed standards of quality. Only in the Romantic era did art historians discover the virtues of medieval art, anticipating the relativism of the later nineteenth century, when art history learned to admire the art of all societies and to value every work as an index of its times. The major art historians of the modern era, however-Jacob Burckhardt, Aby Warburg, Heinrich Wölfflin, Erwin Panofsky, Meyer Schapiro, and Ernst Gombrich-struggled to adapt their work to the rupture of artistic modernism, leading to the current predicaments of the discipline.
Combining erudition with clarity, this book makes a landmark contribution to the understanding of art history.
Rudolf Arnheim explores the creative process through the sketches
executed by Picasso for his mural Guernica. The drawings
and paintings shown herein, as well as the photographs of the
stages of the ...final painting, represent the complete visual record
of the creative stages of a major work of art.
Majismo, a cultural phenomenon that embodied the popular aesthetic in Spain from the second half of the eighteenth century, served as a vehicle to “regain” Spanish heritage. As expressed ...in visual representations of popular types participating in traditional customs and wearing garments viewed as historically Spanish, majismo conferred on Spanish “citizens” the pictorial ideal of a shared national character.
In Framing Majismo, Tara Zanardi explores nobles’ fascination with and appropriation of the practices and types associated with majismo, as well as how this connection cultivated the formation of an elite Spanish identity in the late 1700s and aided the Bourbons’ objective to fashion themselves as the legitimate rulers of Spain. In particular, the book considers artistic and literary representations of the majo and the maja , purportedly native types who embodied and performed uniquely Spanish characteristics. Such visual examples of majismo emerge as critical and contentious sites for navigating eighteenth-century conceptions of gender, national character, and noble identity. Zanardi also examines how these bodies were contrasted with those regarded as “foreign,” finding that “foreign” and “national” bodies were frequently described and depicted in similar ways. She isolates and uncovers the nuances of bodily representation, ultimately showing how the body and the emergent nation were mutually constructed at a critical historical moment for both.
Editorial Schwerda, Mira Xenia
Art in translation,
09/2022, Letnik:
14, Številka:
3
Journal Article
Recenzirano
The artist Mona Hatoum aims to “expand the idea of a shaky ground to include the entire world.”1 The articles in this varia issue of Art in Translation discuss the topics of translation and ...transformation, and they underline that the global history of art and visual culture is complex, unexpected, and ever-changing—in some ways resembling Hatoum’s “shaky ground.” This issue’s articles foreground unpublished, original research on intercultural translation. While focusing on specific case studies or people, the articles address broader questions that have been at the heart of art history over recent decades: The authors lead us away from the deceptive paradigm of linear rise and decline and from the question of original and copy, which preoccupied art history for so long. They examine specific routes taken by objects and moments of cultural contact rather than searching for illusive origins, explore the development of specific phenomena, ideas, and symbols, and investigate the cultural, political, and personal context of art, artists, and art historians. Geographically this issue’s essay topics range from East Asia, to Southeast and South Asia, the Middle East and West Africa, with some references to European and North American art histories and art historiographies, thereby illuminating specific chapters in a global, interconnected history of art.
The green bloc Fowkes, Maja
2015, 20150630, 2015-04-10
eBook
This book examines the approaches of renowned Central European artists to the natural environment, uncovering an up till now largely unrecognized aspect of their work, which has regularly been ...analyzed through socio-political contexts, but rarely in terms of ecology. It focuses on the period after 1968, which not only brought changes to the political landscape of Eastern Europe, but shifted artistic practice towards conceptualism and was instrumental in spreading environmental consciousness. It comparatively investigates artists and artist groups from Slovenia, Croatia, Hungary, Slovakia and Czech Republic, at the moment when art exited the gallery and entered the natural environment, while socialist governments attempted to keep control over information about the real state of environmental pollution and block globally emerging ecological discourse. Apart from embedding artistic production in social, political and environmental histories of the region, this book also addresses the problem of art history as a discipline under socialism, presents a more complete picture of its neo-avant-garde art and constitutes an unprecedented application of the ecological paradigm to art history. It demonstrates the creativity, inventiveness and astuteness of Central European artists whose vision could not be controlled by any imposed borders at the dawn of global awareness of ecological crisis.
It is with a fair amount of certainty the one can state today the importance of the Vienna School of art history for the Polish art historians at the beginning of the XX century, in the interwar ...period or the 1960s and 1970s, yet very little is known about the years in-between. It is commonly accepted that strong anti-German sentiment during the second half of the 1940s and the domination of the soviet doctrine in the first half of the 1950s both complicated further dissemination of works and methods of the Viennese scholars. A closer look at the matter would suggest that their works and ideas remained present in the polish art history of the period, allowing it to serve as a chain link between the interwar years and the development of the discipline in the following decades.
