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Art History (art + history)
Selected AbstractsART HISTORY: CONTEMPORARY PERSPECTIVES ON METHODART HISTORY, Issue 4 2009DANA ARNOLD Dana Arnold is Professor of Architectural History at the University of Southampton, UK. She was editor of Art History from 1997 to 2002 and edits the book series New Interventions in Art History; Companions to Art History; and Anthologies in Art History, all published by Wiley-Blackwell. Her recent monographs include: Rural Urbanism: London Landscapes in the Early Nineteenth Century (2006); Reading Architectural History (2002); Re-presenting the Metropolis: Architecture, Urban Experience and Social Life in London 1800,1840 (2000). Her edited and co-edited volumes include: Biographies and Space (2007); Rethinking Architectural Historiography (2006); Architecture as Experience (2004); Cultural Identities and the Aesthetics of Britishness (2004); Tracing Architecture: The Aesthetics of Antiquarianism (2003); Art and Thought (2003). She is the author of the bestselling Art History: A Very Short Introduction (2004) which has been translated into many languages, including Chinese, Russian, Arabic, Japanese and Spanish and has been reprinted several times. Her monograph on the Spaces of the Hospital is forthcoming from Routledge. Professor Arnold has held research fellowships at Yale University, the University of Cambridge and the Getty Research Institute, Los Angeles and has held numerous visiting Professorships. She was a member of the Research Panel for the Arts and Humanities Research Council (AHRC) and now sits on the Advisory Board of the joint Engineering and Physical Sciences/AHRC initiative Science and Heritage. [source] KARL MANNHEIM AND ALOIS RIEGL: FROM ART HISTORY TO THE SOCIOLOGY OF CULTUREART HISTORY, Issue 4 2009JEREMY TANNER Karl Mannheim and Erwin Panofsky took Alois Riegl's concept of Kunstwollen as their point of departure in the development of the sciences of cultural interpretation. This article seeks to elucidate the very different readings of Riegl made by Mannheim and Panofsky, and to show how the sociological appropriation and transformation of the concept of Kunstwollen was central to the development of Mannheim's sociology of knowledge, and in particular to the analysis of ,styles of thought' in his classic study Conservative Thought (1927). The limited reception of Mannheim's synthesis of sociology and art history is interpreted in the intellectual context of Britain immediately after the 1939,45 war. [source] SWEEPING ACROSS ART HISTORY FROM AUSTRALIA by Kathleen Fennessy, Alex Taylor, Ann Stephen, Andrew McNamara, Philip Goad, Nanette Carter, Bernard Smith, Jeanette Hoorn and Nancy UnderhillART HISTORY, Issue 3 2009Eileen Chanin First page of article [source] Aesthetics of Celebration, Tension and Memory: Nigeria Urban Art HistoryHISTORY COMPASS (ELECTRONIC), Issue 5 2008Adérónké Adésolá Adésŕnyŕ This essay, among other things, addresses the question of origin of Nigerian Urban art, a genre basically found in urban spaces. It highlights the various nomenclatures by which the genre has been tagged to date and provides a robust debate on the pioneer and later urban artists in the country noting the characteristics and nuances of their art. Besides establishing the character of Nigerian urban art as compelling and significant to understanding the aesthetic sensibilities and nuances of the producer culture, issues of identity, training, authorship, patronage, social memory and social responsibility, morality and immorality and how they inform, shape and complicate the creative endeavors of urban artists are brought to the fore. In this insightful interrogation of history, people and spaces one finds the emergence of a new artistic order in which Nigerian urban artists establish and expand their own idioms, unite politics with art, engage their own audiences, cultivate their own clientele, tell their own stories and that of the society, create and endorse new identities, and increasingly expand their socioeconomic space. Their creative formats essentially transform into markets where people, products and services unite. They also serve as cultural lenses through which one gain insights into class struggle in a postcolonial society and how a critical mass of the Nigerian public interprets leadership, commerce, and culture. [source] A World Art History and Its Objects,by,carrier,,davidJOURNAL OF AESTHETICS AND ART CRITICISM, Issue 1 2010IVAN GASKELL First page of article [source] New Directions in British Art History of the Eighteenth CenturyLITERATURE COMPASS (ELECTRONIC), Issue 5 2008Douglas Fordham This essay examines new developments in the history of eighteenth-century British art since the publication of David Solkin's Painting for Money: The Visual Arts and the Public Sphere in Eighteenth-Century England in 1993. While Solkin's account of an urban professional class recasting a civic humanist ideology in its own polite and commercial image continues to hold tremendous sway in the field, this state of the field article identifies three major trends that have tempered and challenged that account. Recent scholarship dealing with gender, space, and empire has subtly reoriented the field towards a more inclusive notion of artistic agency and reception, a more synchronic and spatial approach, and an increasingly global perspective. [source] Art History as EkphrasisART HISTORY, Issue 1 2010Elsner First page of article [source] Timing Wax, Timing Art HistoryART HISTORY, Issue 1 2010Matthew Bowman No abstract is available for this article. [source] Sensory Politics and Art History: Formalism and Modern Ways of LifeART HISTORY, Issue 1 2010Aris Sarafianos First page of article [source] ART HISTORY: CONTEMPORARY PERSPECTIVES ON METHODART HISTORY, Issue 4 2009DANA ARNOLD Dana Arnold is Professor of Architectural History at the University of Southampton, UK. She was editor of Art History from 1997 to 2002 and edits the book series New Interventions in Art History; Companions to Art History; and Anthologies in Art History, all published by Wiley-Blackwell. Her recent monographs include: Rural Urbanism: London Landscapes in the Early Nineteenth Century (2006); Reading Architectural History (2002); Re-presenting the Metropolis: Architecture, Urban Experience and Social Life in London 1800,1840 (2000). Her edited and co-edited volumes include: Biographies and Space (2007); Rethinking Architectural Historiography (2006); Architecture as Experience (2004); Cultural Identities and the Aesthetics of Britishness (2004); Tracing Architecture: The Aesthetics of Antiquarianism (2003); Art and Thought (2003). She is the author of the bestselling Art History: A Very Short Introduction (2004) which has been translated into many languages, including Chinese, Russian, Arabic, Japanese and Spanish and has been reprinted several times. Her monograph on the Spaces of the Hospital is forthcoming from Routledge. Professor Arnold has held research fellowships at Yale University, the University of Cambridge and the Getty Research Institute, Los Angeles and has held numerous visiting Professorships. She was a member of the Research Panel for the Arts and Humanities Research Council (AHRC) and now sits on the Advisory Board of the joint Engineering and Physical Sciences/AHRC initiative Science and Heritage. [source] Reading the Virtual Museum of General Art HistoryART HISTORY, Issue 4 2001Dan Karlholm The representation of general art history in the nineteenth century is the centre of attention of this essay. It examines, in particular, the structural characteristics from 1845 to 1856 of Denkmäler der Kunst (Monuments of Art), a collection of engravings which constitutes the visual supplement to the first text of general art history, Handbuch der Kunstgeschichte (1841--42) by Franz Kugler. The impact of this largely neglected pictorial ,atlas', early on metaphorized as a ,museum', is connected to comparable visual regimes of a later date, especially Malraux's photographic ,museum without walls', but also Warburg's Memory Atlas, the open-ended possibilities of post-photographic practices and the web. Intersected is an argument with Danto's Hegelian ,end of art' thesis, ushering in a more closely contextualized reading of the ,end' of art history from a contemporary, media-saturated viewpoint. It all begins, and ends, with Warhol's postmodern version of Raphael's vision: the Sistine Madonna. [source] Dangerous Liaisons: Desire, Decoration, and the Queer in the Writing of Art's HistoriesART HISTORY, Issue 3 2010Joseph McBrinn No abstract is available for this article. [source] State Ritual in Late Imperial ChinaRELIGION COMPASS (ELECTRONIC), Issue 1 2009Ihor Pidhainy Until recently scholars have tended to view the Chinese imperial tradition from a human-centred perspective. However, in the last two decades, the importance of ritual and state religion in imperial China has become better appreciated and more fully explored. This article focuses on research of late imperial China, from the tenth century to the beginning of the twentieth century, with a particular focus on the last two dynasties: the Ming (1368,1643) and Qing (1644,1911). This article is divided into four sections: a definition of Chinese ritual and its essential texts; its relationship to other religious ritual systems (Buddhism, Daoism and folk religions); an examination of three central reign periods: Hongwu (Zhu Yuanzhang, reign 1368,1398), Jiajing (Zhu Houcong, reign 1521,1567), and Qianlong (Hongli, reign 1735,1796); and the aesthetics of state ritual, including literature, art history and music. [source] Renaissance monuments to favourite sonsRENAISSANCE STUDIES, Issue 4 2005Sarah Blake McHam This essay focuses on a previously unnoticed large group of public monuments that was erected at civic expense in fifteenth-century Italy to honour Roman literary notables like Virgil, Ovid, Livy, Pliny the Elder, Pliny the Younger, Catullus and Virtruvius. All the memorials to Roman authors were civic commissions, prominently located in the public spaces of Italian Renaissance cities, either as freestanding statues in the main square, or installed on the exterior of the town hall, or even on the cathedral. Most of the sculptures were not of high artistic quality, or by famous sculptors, or in major centres of artistic production like Florence or Venice. Some never made it past the design stage. For all these reasons, they have not been integrated into the study of Renaissance art history. Consequently, art historians have not realised that some of these parochial monuments introduce important features associated with the Renaissance revival of ancient art that are usually ascribed to later, more famous sculptures. (pp. 458,486) [source] Art's agency and art history , Edited by Robin Osborne & Jeremy TannerTHE JOURNAL OF THE ROYAL ANTHROPOLOGICAL INSTITUTE, Issue 1 2009Roger Sansi [source] PHENOMENOLOGY AND INTERPRETATION BEYOND THE FLESHART HISTORY, Issue 4 2009AMANDA BOETZKES This article explores the ethical questions surrounding the phenomenological approach to interpretation in art history. It addresses contemporary art, from postminimalist sculpture to installation. Although the risk of phenomenology is that it merely confirms and reproduces the viewer's perceptual expectations, in fact, on a deeper level, the notion of the ontological intertwining of the viewer and the artwork demands a receptive stance in the face of art. Through an investigation of the notions of embodiment, intentionality, and mode of confrontation, I suggest that phenomenology not only mediates a trenchant understanding of the perceptual experience of the artwork, it is predicated on an acknowledgement of the artwork's alterity from interpretation. In this way, it invites a consideration of the linguistic malleability implicit in the fleshly chiasm that binds the viewer to the artwork. [source] SURVEYING CONTEMPORARY ART: POST-WAR, POSTMODERN, AND THEN WHAT?ART HISTORY, Issue 4 2009DAN KARLHOLM This article looks at influential survey texts on world art history since c. 1980, and considers how they have dealt with the art nearest to them in time. I examine the terminology used, and problems of classification, periodization, and history writing at large. In order to describe how these texts struggle with the terms contemporary and postmodern, I focus on their treatment of conceptual art and two artists: Joseph Beuys and Cindy Sherman. The symbolic and economic consolidation of contemporary art during the last decade or so prompts me to establish a broader frame of understanding, linking it to constructions of the contemporary in the nineteenth century and to the idea of co-existing temporalities for art. [source] MICHEL FOUCAULT AND THE POINT OF PAINTINGART HISTORY, Issue 4 2009CATHERINE M. SOUSSLOFF This article offers a historiographical analysis of Foucault's contribution to art theory by arguing that the philosopher used the medium of painting and its history since Alberti to explore the differences in the concept of realism between 1650 and his own day. I argue that in his four essays on painting written between 1966 and 1976 Foucault took up the relation of painting to knowledge (savoir), particularly the question of how painting means using an innovative approach that he termed historical. Like the phenomenologists who immediately preceded him, Foucault understood painting as related to our understanding of how knowledge is communicated or felt rather than of how it exists as philosophy. This article explores the consequences of Foucault's contribution to the history of painting for both art history and visual studies. [source] KARL MANNHEIM AND ALOIS RIEGL: FROM ART HISTORY TO THE SOCIOLOGY OF CULTUREART HISTORY, Issue 4 2009JEREMY TANNER Karl Mannheim and Erwin Panofsky took Alois Riegl's concept of Kunstwollen as their point of departure in the development of the sciences of cultural interpretation. This article seeks to elucidate the very different readings of Riegl made by Mannheim and Panofsky, and to show how the sociological appropriation and transformation of the concept of Kunstwollen was central to the development of Mannheim's sociology of knowledge, and in particular to the analysis of ,styles of thought' in his classic study Conservative Thought (1927). The limited reception of Mannheim's synthesis of sociology and art history is interpreted in the intellectual context of Britain immediately after the 1939,45 war. [source] EMPATHETIC VISION: LOOKING AT AND WITH A PERFORMATIVE BYZANTINE MINIATUREART HISTORY, Issue 4 2007ROBERT S. NELSON A Byzantine Gospel Lectionary in Florence contains a detailed description of the liturgical rites on 1 September. The manuscript's illustration for that day is interpreted art historically and then read against that liturgy so as to distinguish the heuristic processes of the discipline from the empathetic vision of the person for whom the manuscript was made and used: the Patriarch of Constantinople. The display that art history assumes and creates is contrasted with a performative spectacle of the Middle Ages. [source] UTOPIA LOST: ALLEGORY, RUINS AND PIETER BRUEGEL'S TOWERS OF BABELART HISTORY, Issue 2 2007JOANNE MORRA Beginning with the ubiquity with which art history discusses Pieter Bruegel the Elder's work as allegorical , and the Tower of Babel paintings are no exception , I offer a reassessment of this by contributing to the ongoing debates within Breugel studies on methodology, and, until now, outside of them, on Walter Benjamin's theory of allegory. Through a close reading of the paintings, the art historical literature on the paintings, and a philosophical interpretation of the Tower of Babel narrative, I intervene in the methodological debates by proposing an alternative conception of the dialectical aspects of Bruegel's paintings. I then suggest how an understanding of the dialectical character of the paintings, and a necessarily overdetermined hermeneutics of them, can add to our knowledge of Bruegel's work, and put pressure on our comprehension of Benjamin's writings on allegory and ruins. [source] Max Dvo,ák: art history and the crisis of modernityART HISTORY, Issue 2 2003Matthew Rampley The work of Max Dvo,ák has seldom enjoyed the acclaim accorded to that of his Viennese colleague Alois Riegl, or contemporaries such as Aby Warburg and Heinrich Wölfflin. This paper argues for a reconsideration of his work, in which his ,art history as the history of ideas' is seen both as a lens through which Dvo,ák conducted a sustained commentary on the present, and also as a critique of modernity comparable to the social and economic theories of Ernst Troeltsch, Ferdinand Tönnies, Georg Simmel or Ernst Mach. The article argues that Dvo,ák's work offers an important example of the numerous intellectual and political tensions at work in the final years of the Habsburg monarchy. As such, the article aims to question the institutional frame within which much art-historical writing is often analysed. [source] Latent Ghosts and the Manifesto: Baya, Breton and reading for the futureART HISTORY, Issue 2 2003Ranjana Khanna Framing this article is an interest in post-colonial theory's impact on art history, and the ethical demands it has placed on that history. It explores the ways in which post-colonial studies have situated the development of disciplines in terms of their complicity with nationalist and colonialist agendas. Post-colonial theory's political intervention into art history also raises the question of the ethical limits of partisan reading and foregrounds an ethics of looking. The essay considers Surrealism and its manifesto, reading for its latent ghosts. It discusses André Breton's relation to three women: Hélčne Smith, Nadja and the artist Baya Mahieddine. A responsibility to the work of this haunting figure involves an understanding of French colonial contexts, and an ethical response to this over-scripted and over-determined painter, who tends to disappear from view as her signature is tied to the art-historical terms of naivety and primitivism, the colonialist terms of Arabian mysteriousness and childishness, the psychoanalytic terms of primitive mentality, and post-independence nationalist terms of nativist representation. The demands made by Baya's paintings argue for an understanding of her as haunting yet material , a Surrealist conundrum. [source] The Sources and Fortunes of Piranesi's Archaeological IllustrationsART HISTORY, Issue 4 2002Susan M. Dixon Susan M. Dixon earned her doctorate from Cornell University in 1991 with a dissertation on the archaeological publications of Giovanni Battista Piranesi. She studies the history of pre,scientific archaeology, from Pirro Ligorio to Piranesi, with a particular focus on illustration as a means to convey historical knowledge. She has published on this subject in a variety of venues, and is beginning a book,length manuscript on the subject. In 1995,96, she was awarded a J. Paul Getty post,doctoral fellowship to study the Accademia degli Arcadi, a society founded in 1690 primarily to restore good taste in literature, and its successes and failures in bringing about the reform of Italian society and architecture. She has written a book entitled The Bosco Parrasio: Performance and Perfectibility in the Garden of the Arcadians, which focuses on their garden meeting place as a breeding ground for a utopian society. Dr Dixon teaches art history at the University of Tulsa in Oklahoma. Giovanni Battista Piranesi (1720,1778) developed a way of representing the archaeological past by using the multi,informational image, an engraved illustration which appears to be a composite of various drawings, on various surfaces, and employing various modes of representation, scale and detail. The cartographic tradition, particularly maps from sixteenth,century Europe, offer a precedent for this type of illustration. Piranesi found theoretical underpinnings for it in contemporary discussions about the workings of the human memory, which was identified as a viable tool for those pursuing historical knowledge. His illustrations make visible the processes of memory on an assemblage of archaeological information, and they were a means to historical reconstruction. Archaeologists of the generation after Piranesi did not use the multi,informational image as the science of archaeology underwent a sea change at the end of the century. However, some compilers of travel literature, in particular Jean,Laurent,Pierre HoĂ,el, author and illustrator of Voyage pittoresque des isles de Sicile, de Malte, et de Lipari, found the format suitable to their purposes. Like Piranesi's, Hoüel's multi,informational images reveal the hand of the artist on the information he had diligently collected and ordered; Hoüel's picturesque illustrations of the southern Italian islands' people and places are self,consciously subjective. The format also makes apparent what was so appealing to many a voyager ,the apparent survival of the past in the culture of the present. [source] The Birth of Late Antiquity: Riegl and Strzygowski in 1901ART HISTORY, Issue 3 2002Jas´ Elsner This paper celebrates the anniversary of the publication of Alois Riegl's Spätrömische Kunstindustrie and Josef Strzygowski's Orient oder Rom in 1901. The significance of these two books and the polemic that developed between their authors and their adherents goes to the heart of the development of late-antique studies in the history of art. But beyond this, it exemplifies what was best in the characteristic scholarship of the ,Vienna School', empiricism embedded in idealism , and the dangers of teleological politics to which such Austro-German art, historical theorizing ran the risk of succumbing, especially by the 1920s and 1930s. Yet the legacy of the Vienna School's methodological intervention in art history through the emphasis on style runs longer still than the middle of the century. The paper explores also some of the effects of Vienna-style empiricism in the much more recent works of Ernst Kitzinger and Ernst Gombrich. [source] Reading the Virtual Museum of General Art HistoryART HISTORY, Issue 4 2001Dan Karlholm The representation of general art history in the nineteenth century is the centre of attention of this essay. It examines, in particular, the structural characteristics from 1845 to 1856 of Denkmäler der Kunst (Monuments of Art), a collection of engravings which constitutes the visual supplement to the first text of general art history, Handbuch der Kunstgeschichte (1841--42) by Franz Kugler. The impact of this largely neglected pictorial ,atlas', early on metaphorized as a ,museum', is connected to comparable visual regimes of a later date, especially Malraux's photographic ,museum without walls', but also Warburg's Memory Atlas, the open-ended possibilities of post-photographic practices and the web. Intersected is an argument with Danto's Hegelian ,end of art' thesis, ushering in a more closely contextualized reading of the ,end' of art history from a contemporary, media-saturated viewpoint. It all begins, and ends, with Warhol's postmodern version of Raphael's vision: the Sistine Madonna. [source] | ||||||||||