History of Renaissance Art: Painting, Sculpture, Architecture Throughout Europe. (The Library of Art History)

Art Education ◽  
1973 ◽  
Vol 26 (8) ◽  
pp. 36
Author(s):  
Roy O. Burke ◽  
Creighton Gilbert
Keyword(s):  
Art History ◽  
Renaissance Art ◽  
History Of

scholarly journals What to do with the “Most Modern” Artworks? Erwin Panofsky and the Art History of Contemporary Art

2014 ◽  
Vol 3 ◽  
pp. 38-49
Author(s):  
Flora Lysen
Keyword(s):  
New York ◽  
Contemporary Art ◽  
Art History ◽  
Cultural Distance ◽  
Renaissance Art ◽  
Art Objects ◽  
Art Historians ◽  
History Of ◽  
Erwin Panofsky ◽  
Historical Methods

In the 1930s, when the world-renowned Medieval and Renaissance art scholar Erwin Panofsky became acquainted with the New York contemporary art scene, he was challenged with the most difficult dilemma for art historians. How could Panofsky, who was firmly entrenched in the kunstwissenschaftliche study of art, use his historical methods for the scholarly research of contemporary art? Can art historians deal with the art objects of their own time? This urgent and still current question of how to think about “contemporaneity” in relation to art history is the main topic of this paper, which departs from Panofsky’s 1934 review of a book on modern art. In his review of James Johnson Sweeny’s book Plastic Redirections in 20th Century Painting, Panofsky’s praise for Sweeney’s scholarly “distance” from contemporary art developments in Europe is backed by a claim for America’s cultural distance, rather than a (historical) removal in time. Taking a closer look at Panofsky’s conflation of historical/temporal distance with geographical/cultural distance, this paper demonstrates a politically situated discourse on contemporaneity, in which Panofsky proposes the act of writing about the contemporary as a redemptive act, albeit, as this paper will demonstrate, without being able to follow his own scientific method. 

Monastery, Monument, Museum

2017 ◽  
Author(s):  
Maurizio Peleggi
Keyword(s):  
Cultural History ◽  
Art History ◽  
Social Life ◽  
Eleventh Century ◽  
Devotional Art ◽  
Cultural Legacy ◽  
Political Ideologies ◽  
Cultural Sites ◽  
History Of ◽  
Intellectual Knowledge

Monastery, Monument, Museum examines cultural sites, artifacts, and institutions of Thailand as both products and vehicles of cultural memory. From rock caves to reliquaries, from cultic images to temple murals, from museums and modern monuments to contemporary artworks, cultural sites and artifacts are considered in relation to the transmission of religious beliefs and political ideologies, as well as manual and intellectual knowledge, throughout thelongue durée of Thailand’s cultural history. Sequenced by and large chronologically along a period of time spanning the eleventh century through to the start of the twenty-first, the eight chapters in this book are grouped into three sections that surface distinct themes and analytical concerns: devotional art in Part I, museology and art history in Part II, and political art in Part III. The chapters can even be read as self-contained essays, each supplied with extensive bibliographic references.By examining the interplay between cultural sites and artifacts, their popular and scholarly appreciation, and the institutional configuration of a cultural legacy, Monastery, Monument, Museum makes a contribution to the literature on memory studies. A second area of scholarship this book engages is the art history of Thailand by shifting focus from the chronological and stylistic analysis of artifacts to their social life—and afterlife. Monastery, Monument, Museum brings together in one volume a millennium of art and cultural history of Thailand. Its novel analysis and thought-provoking re-interpretation of a variety of artifacts and source materials will be of interest to both the specialist and the general reader.

Conditions of Visibility

2019 ◽  
Keyword(s):  
Art History ◽  
Visual Art ◽  
Fundamental Question ◽  
Ancient World ◽  
Work Of Art ◽  
History Of Art ◽  
Shared Objects ◽  
History Of ◽  
Modern Prejudice ◽  
Historical Past

We often assume that works of visual art are meant to be seen. Yet that assumption may be a modern prejudice. The ancient world - from China to Greece, Rome to Mexico - provides many examples of statues, paintings, and other images that were not intended to be visible. Instead of being displayed, they were hidden, buried, or otherwise obscured. In this third volume in the Visual Conversations in Art & Archaeology series, leading scholars working at the intersection of archaeology and the history of art address the fundamental question of art's visibility. What conditions must be met, what has to be in place, for a work of art to be seen at all? The answer is both historical and methodological; it concerns ancient societies and modern disciplines, and encompasses material circumstances, perceptual capacities, technologies of visualization, protocols of classification, and a great deal more. The emerging field of archaeological art history is uniquely suited to address such questions. Intrinsically comparative, this approach cuts across traditional ethnic, religious, and chronological categories to confront the academic present with the historical past. The goal is to produce a new art history that is at once cosmopolitan in method and global in scope, and in doing so establish new ways of seeing - new conditions of visibility - for shared objects of study.

Figurines

2020 ◽  
Keyword(s):  
Art History ◽  
Greco Roman ◽  
Roman Culture ◽  
History Of ◽  
Relationship Of ◽  
Material Concept ◽  
As If

This book concerns figurines from cultures that have no direct links with each other. It explores the category of the figurine as a key material concept in the art history of antiquity through comparative juxtaposition of papers drawn from Chinese, pre-Columbian, and Greco-Roman culture. It extends the study of figurines beyond prehistory into ancient art-historical contexts. At stake are issues of figuration and anthropomorphism, miniaturization and portability, one-off production and replication, substitution and scale. Crucially, figurines are objects of handling by their users as well as their makers—so that, as touchable objects, they engage the viewer in different ways from flat art. Unlike the voyeuristic relationship of viewing a neatly framed pictorial narrative, as if from the outside, the viewer as handler is always potentially and without protection within the narrative of figurines. This is why they have had potential for a potent, even animated, agency in relation to those who use them.

Arabesques, Unicorns, and Invisible Masters: The Art Historian’s Gaze as Symptomatic Action?

2015 ◽  
Vol 32 (1) ◽  
pp. 213-232
Author(s):  
Eva-Maria Troelenberg
Keyword(s):  
Art History ◽  
Cultural Difference ◽  
Second World War ◽  
Islamic Art ◽  
Methodological Development ◽  
World War ◽  
Taxonomic History ◽  
History Of ◽  
Historical Methods ◽  
Second World

This essay takes two seminal texts of mid-twentieth-century Islamic art history as case studies for the methodological development of the scholarly gaze in the aftermath of the Second World War. Ernst Kühnel’s Die Arabeske (Wiesbaden, 1949) testifies to the continuity of a taxonomic history of styles, rooted in phenomenologist Sachforschung and apparently adaptable to shifting ideological paradigms. Richard Ettinghausen’s The Unicorn (Washington, 1950) stands for a neo-humanist approach. Its negotiation of aesthetic and cultural difference clearly is to be considered against the background of the experience of exile, but also of the rising tide of democratic humanism characteristic for postwar American humanities. Both examples together offer a comparative perspective on the agencies of art historical methods and their ideological and epistemological promises and pitfalls in dealing with aesthetic difference. Consequently, this essay also seeks to contribute exemplary insights into the immediate prehistory of the so-called “Global Turn” in art history. 


Art History vs. the History of Art

Art Journal ◽  
1984 ◽  
Vol 44 (4) ◽  
pp. 313
Author(s):  
Jules David Prown
Keyword(s):  
Art History ◽  
History Of Art ◽  
History Of

Moving Pictures and Renaissance Art History

2021 ◽  
Author(s):  
Patricia Emison
Keyword(s):  
Twentieth Century ◽  
Mass Media ◽  
Art History ◽  
Visual Art ◽  
Renaissance Art ◽  
Word And Image ◽  
Visual Composition ◽  
Moving Pictures ◽  
And Gender

Film, like the printed imagery inaugurated during the Renaissance, spread ideas---not least the idea of the power of visual art---across not only geographical and political divides but also strata of class and gender. Moving Pictures and Renaissance Art History examines the early flourishing of film, 1920s-mid-60s, as partly reprising the introduction of mass media in the Renaissance, allowing for innovation that reflected an art free of the control of a patron though required to attract a broad public. Rivalry between word and image, narrative and visual composition shifted in both cases toward acknowledging the compelling nature of the visual. The twentieth century also saw the development of the discipline of art history; transfusions between cinematic practice and art historical postulates and preoccupations are part of the story told here.

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