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Author: MitchellB. Frank
Publisher: Routledge
ISBN: 1351565729
Category : Art
Languages : en
Pages : 209
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Book Description
A fresh contribution to the ongoing debate between Kunstwissenschaft (scientific study of art) and Kunstgeschichte (art history), this essay collection explores how German-speaking art historians of the late nineteenth and early twentieth century self-consciously generated a field of study. Prominent North American and European scholars provide new insights into how a mixing of diverse methodologies took place, in order to gain a more subtle and comprehensive understanding of how art history became institutionalized and legitimized in Germany. One common assumption about early art-historical writing in Germany is that it depended upon a simplistic and narrowly-defined formalism. This book helps to correct this stereotype by demonstrating the complexity of discussion surrounding formalist concerns, and by examining how German-speaking art historians borrowed, incorporated, stole, and made analogies with concepts from the sciences in formulating their methods. In focusing on the work of some of the well-known 'fathers' of the discipline - such as Alois Riegl and Heinrich W?lfflin - as well as on lesser-known figures, the essays in this volume provide illuminating, and sometimes surprising, treatments of art history's prior and understudied interactions with a wide range of scientific orientations, from psychology, sociology, and physiognomics to evolutionism and comparative anatomy.
Author: MitchellB. Frank
Publisher: Routledge
ISBN: 1351565729
Category : Art
Languages : en
Pages : 209
Get Book Here
Book Description
A fresh contribution to the ongoing debate between Kunstwissenschaft (scientific study of art) and Kunstgeschichte (art history), this essay collection explores how German-speaking art historians of the late nineteenth and early twentieth century self-consciously generated a field of study. Prominent North American and European scholars provide new insights into how a mixing of diverse methodologies took place, in order to gain a more subtle and comprehensive understanding of how art history became institutionalized and legitimized in Germany. One common assumption about early art-historical writing in Germany is that it depended upon a simplistic and narrowly-defined formalism. This book helps to correct this stereotype by demonstrating the complexity of discussion surrounding formalist concerns, and by examining how German-speaking art historians borrowed, incorporated, stole, and made analogies with concepts from the sciences in formulating their methods. In focusing on the work of some of the well-known 'fathers' of the discipline - such as Alois Riegl and Heinrich W?lfflin - as well as on lesser-known figures, the essays in this volume provide illuminating, and sometimes surprising, treatments of art history's prior and understudied interactions with a wide range of scientific orientations, from psychology, sociology, and physiognomics to evolutionism and comparative anatomy.
Author: MitchellB. Frank
Publisher: Routledge
ISBN: 1351565710
Category : Art
Languages : en
Pages : 303
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Book Description
A fresh contribution to the ongoing debate between Kunstwissenschaft (scientific study of art) and Kunstgeschichte (art history), this essay collection explores how German-speaking art historians of the late nineteenth and early twentieth century self-consciously generated a field of study. Prominent North American and European scholars provide new insights into how a mixing of diverse methodologies took place, in order to gain a more subtle and comprehensive understanding of how art history became institutionalized and legitimized in Germany. One common assumption about early art-historical writing in Germany is that it depended upon a simplistic and narrowly-defined formalism. This book helps to correct this stereotype by demonstrating the complexity of discussion surrounding formalist concerns, and by examining how German-speaking art historians borrowed, incorporated, stole, and made analogies with concepts from the sciences in formulating their methods. In focusing on the work of some of the well-known 'fathers' of the discipline - such as Alois Riegl and Heinrich W?lfflin - as well as on lesser-known figures, the essays in this volume provide illuminating, and sometimes surprising, treatments of art history's prior and understudied interactions with a wide range of scientific orientations, from psychology, sociology, and physiognomics to evolutionism and comparative anatomy.
Author: Stefaniia Demchuk
Publisher: Taylor & Francis
ISBN: 1040230598
Category : Art
Languages : en
Pages : 264
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Book Description
This book explores ideologies, conflicts and ideas that underpinned art historical writing in Ukraine in the 20th century. Disciplinary beginnings testify both to its deep connection to Krakow, Saint Petersburg and especially Vienna with its school of art history and originality of theoretical thought. Art history started as another imperial project in Ukraine, but ultimately transformed into the means of assertion of national identity. The volume looks closely at the continuity and ruptures in scholarship caused by the establishment of Soviet power and challenges a number of existing stereotypes like total isolation under Communist rule and strict adherence to a Marxist-Leninist methodology. It showcases intellectual exchanges through published work, personal contacts and ways to resist the politically enforced methodology. Despite keeping the focus on one country, it contributes to understanding the development of art history as an academic discipline in Europe more generally. It also uncovers unknown or little-researched personal and academic connections between art historians from Ukraine and their peers abroad. Starting with the 19th-century quest for the method and proceeding by disentangling the complexities of the 20th century, the authors move on to the specifics of historiography after the formal collapse of the USSR. The volume transgresses purely academic boundaries and tackles the development of the discourse in periodicals, exhibition spaces and public discussions. Thus, the findings will be pertinent to all interested in politics, art history, museum studies, intellectual history, historiography and Eastern European studies.
Author: Bernard Lightman
Publisher: Routledge
ISBN: 1000124177
Category : Literary Collections
Languages : en
Pages : 336
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Book Description
Current studies in disciplinarity range widely across philosophical and literary contexts, producing heated debate and entrenched divergences. Yet, despite their manifest significance for us today seldom have those studies engaged with the Victorian origins of modern disciplinarity. Victorian Culture and the Origin of Disciplines adds a crucial missing link in that history by asking and answering a series of deceptively simple questions: how did Victorians define a discipline; what factors impinged upon that definition; and how did they respond to disciplinary understanding? Structured around sections on professionalization, university curriculums, society journals, literary genres and interdisciplinarity, Victorian Culture and the Origin of Disciplines addresses the tangled bank of disciplinarity in the arts, humanities, social sciences and natural sciences including musicology, dance, literature, and art history; classics, history, archaeology, and theology; anthropology, psychology; and biology, mathematics and physics. Chapters examine the generative forces driving disciplinary formation, and gauge its success or failure against social, cultural, political, and economic environmental pressures. No other volume has focused specifically on the origin of Victorian disciplines in order to track the birth, death, and growth of the units into which knowledge was divided in this period, and no other volume has placed such a wide array of Victorian disciplines in their cultural context.
Author: Jas Elsner
Publisher: Routledge
ISBN: 1351571397
Category : Art
Languages : en
Pages : 244
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Book Description
Featuring some of the major voices in the world of art history, this volume explores the methodological aspects of comparison in the historiography of the discipline. The chapters assess the strengths and weaknesses of comparative practice in the history of art, and consider the larger issue of the place of comparative in how art history may develop in the future. The contributors represent a comprehensive range of period and geographic command from antiquity to modernity, from China and Islam to Europe, from various forms of art history to archaeology, anthropology and material culture studies. Art history is less a single discipline than a series of divergent scholarly fields ? in very different historical, geographic and cultural contexts ? but all with a visual emphasis on the close examination of objects. These fields focus on different, often incompatible temporal and cultural contexts, yet nonetheless they regard themselves as one coherent discipline ? namely the history of art. There are substantive problems in how the sub-fields within the broad-brush generalization called 'art history' can speak coherently to each other. These are more urgent since the shift from an art history centered on the western tradition to one that is consciously global.
Author: Matthew Rampley
Publisher: Penn State Press
ISBN: 0271062606
Category : Art
Languages : en
Pages : 293
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Book Description
Matthew Rampley’s The Vienna School of Art History is the first book in over seventy-five years to study in depth and in context the practices of art history from 1847, the year the first teaching position in the discipline was created, to 1918, the collapse of Austria-Hungary. It traces the emergence of art history as a discipline, the establishment of norms of scholarly inquiry, and the involvement of art historians in wider debates about the cultural and political identity of the monarchy. The so-called Vienna School plays the central role in the study, but Rampley also examines the formation of art history elsewhere in Austria-Hungary. Located in the Habsburg imperial capital, Vienna art historians frequently became entangled in debates that were of importance to art historians elsewhere in the Empire, and Rampley pays particular attention to these areas of overlapping interest. He also analyzes the methodological innovations for which the Vienna School was well known. Rampley focuses most fully, however, on the larger political and ideological context of the practice of art history—particularly the way in which art-historical debates served as proxies for wider arguments over the political, social, and cultural life of the Habsburg Empire.
Author: Mark Crinson
Publisher: Bloomsbury Publishing
ISBN: 1350020931
Category : Architecture
Languages : en
Pages : 185
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Book Description
What is the place of architecture in the history of art? Why has it been at times central to the discipline, and at other times seemingly so marginal? What is its place now? Many disciplines have a stake in the history of architecture – sociology, anthropology, human geography, to name a few. This book deals with perhaps the most influential tradition of all – art history – examining how the relation between the disciplines of art history and architectural history has waxed and waned over the last one hundred and fifty years. In this highly original study, Mark Crinson and Richard J. Williams point to a decline in the importance attributed to the role of architecture in art history over the last century – which has happened without crisis or self-reflection. The book explores the problem in relation to key art historical approaches, from formalism, to feminism, to the social history of art, and in key institutions from the Museum of Modern Art, to the journal October. Among the key thinkers explored are Banham, Baxandall, Giedion, Panofsky, Pevsner, Pollock, Riegl, Rowe, Steinberg, Wittkower and Wölfflin. The book will provoke debate on the historiography and present state of the discipline of art history, and it makes a powerful case for the reconsideration of architecture.
Author: Heinrich Wolfflin
Publisher: Getty Publications
ISBN: 1606064525
Category : Art
Languages : en
Pages : 370
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Book Description
Principles of Art History by Heinrich Wölfflin (1864–1945), a revolutionary attempt to construct a science of art through the study of the development of style, has been a foundational work of formalist art history since it was first published in 1915. At once systematic and subjective, and remarkable for its compelling descriptions of works of art, Wölfflin’s text has endured as an accessible yet rigorous approach to the study of style. Although Wölfflin applied his analysis to objects of early modern European art, Principles of Art History has been a fixture in the theoretical and methodological debates of the discipline of art history and has found a global audience. With translations in twenty-four languages and many reprints, Wölfflin’s work may be the most widely read and translated book of art history ever. This new English translation, appearing one hundred years after the original publication, returns readers to Wölfflin’s 1915 text and images. It also includes the first English translations of the prefaces and afterword that Wölfflin himself added to later editions. Introductory essays provide a historical and critical framework, referencing debates engendered byPrinciples in the twentieth century for a renewed reading of the text in the twenty-first.
Author: Nicholas Chare
Publisher: Routledge
ISBN: 1000226190
Category : Art
Languages : en
Pages : 259
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Book Description
Through a series of cross-disciplinary and interdisciplinary interventions, leading international scholars of history and art history explore ways in which the study of images enhances knowledge of the past and informs our understanding of the present. Spanning a diverse range of time periods and places, the contributions cumulatively showcase ways in which ongoing dialogue between history and art history raises important aesthetic, ethical and political questions for the disciplines. The volume fosters a methodological awareness that enriches exchanges across these distinct fields of knowledge. This innovative book will be of interest to scholars in art history, cultural studies, history, visual culture and historiography.
Author: KimberlyA. Smith
Publisher: Routledge
ISBN: 1351544713
Category : Art
Languages : en
Pages : 578
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Book Description
During the period in which Expressionist artists were active in central Europe, art historians were producing texts which also began to be characterized evocatively as ?expressionist?, yet the notion of an expressionist art history has yet to be fully explored in historiographic studies of the discipline. This anthology offers a cross-section of noteworthy art history texts that have been described as expressionist, along with critical commentaries by an international group of scholars. Written between 1912 and 1933, the primary sources have been selected from the published scholarship of both recognized and less-familiar figures in the field's Germanic tradition: Wilhelm Worringer, Fritz Burger, Ernst Heidrich, Max Dvor? Heinrich W?lfflin, and Carl Einstein. Translated here for the first time, these examples of an expressionist turn in art history, along with their secondary analyses and the book's introduction, offer a productive lens through which to re-examine the practice and theory of art history in the early twentieth century.
