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"Principles of Art History Writing traces the changes in the way in which writers about art represent the same works. These differ in such deep ways as to raise the question of whether those at the beginning of the process even saw the same things as those at the end did. Carrier uses four case studies to identify and explain changing styles of restoration and the history of interpretation of selected works by Piero, Caravaggio, and van Eyck." -- Back cover
For undergraduate courses in Art History. Ideal as a reference or supplement. Designed to provide students with the tools necessary to launch a successful study of art history, this succinct and accessible guide offers a practical introduction to the methodology of art history and an overview of writing in the discipline. Helping students to think as art historians, this Third Edition teaches how to ask questions and how to answer them, and challenges students to seek new insights through their readings, discussions, and written work. Parts of the Art Basics series provide students with high quality books at an affordable cost.
An invaluable handbook, How to Write Art History enables students to get the most from their art history course. In a clear and engaging style, Anne D'Alleva empowers readers to approach their coursework with confidence and energy. The book introduces two basic art historical methods – formal analysis and contextual analysis – and this second edition provides even more step-by-step guidance about how these methods can be used in class discussion and in writing essays and papers. The common strengths and weaknesses of an art history essay are highlighted by using real examples of written work, and at each stage of the writing process D'Alleva offers valuable advice on developing an argument convincingly. Providing a fascinating view of the study of art history within its historical context, this book will be particularly helpful for those considering a career in this rewarding discipline.
"Our purpose in this handbook is to help you, the evolving artist, learn to articulate your concepts and ideas, and also to argue for and earn your place in the world of art."--Preface pg. ix.
A Guide to Writing in Art and Art History, part of the Writer’s Help Guidebook Series, offers writing and research support for students writing in the discipline. This compact yet comprehensive guidebook provides the value students want with the essential instruction they need to complete writing tasks successfully. Students will find advice on how to think, read, research, and design and write papers and projects like an art professional. Coverage includes the following topics, all focused on the specific needs of writers in art and art history: Writing process Conventions in the discipline Integrating and evaluating sources Documentation style required in the discipline--with plenty of models Sample student writing
This anthology is a guide to understanding art history through critical reading of the field's most innovative and influential texts, focusing on the past two centuries.
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 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.
Key Writers on Art: From Antiquity to the Nineteenth Century offers a unique and authoritative guide to theories of art from Ancient Greece to the end of the Victorian era, written by an international panel of expert contributors. Arranged chronologically to provide an historical framework, the 43 entries analyze the ideas of key philosophers, historians, art historians, art critics, artists and social scientists, including Plato, Aquinas, Alberti, Michelangelo, de Piles, Burke, Schiller, Winckelmann, Kant, Hegel, Burckhardt, Marx, Tolstoy, Taine, Baudelaire, Nietzsche, Ruskin, Pater, Wölfflin and Riegl. Each entry includes: * a critical essay * a short biography * a bibliography listing both primary and secondary texts Unique in its range and accessibly written, this book, together with its companion volume Key Writers on Art: The Twentieth Century, provides an invaluable guide for students as well as general readers with an interest in art history, aesthetics and visual culture.
This book offers a theory of writing as representational composition, identifying fundamental elements which underlie all principles of writing and textual composition. For students of writing in all areas as well as writers at all levels.
Karl Morrison discusses historical writing at a turning point in European culture: the so-called Renaissance of the twelfth century. Why do texts considered at that time to be masterpieces seem now to be fragmentary and full of contradictions? Morrison maintains that the answer comes from ideas about art. Viewing histories as artifacts made according to the same aesthetic principles as paintings and theater, he shows that twelfth-century authors and audiences found unity not in what the reason read in a text but in what the imagination read into it: they prized visual over verbal imagination and employed a circular, or nuclear, spectator-centered perspective cast aside in the Renaissance of the fourteenth and fifteenth centuries. Twelfth-century writers assimilated and transformed a tradition of the conceptual unity of all the arts and attributed that unity to the fact that art both conceals and discloses. Recovering that tradition, especially the methods and motives of concealment, provides extraordinary insights into twelfth-century ideas about the kingdom of God, the status of women, and the nature of time itself. It also identifies a strain in European thought that had striking affinities to methods of perception familiar in Oriental religions and that proved to be antithetic to later humanist traditions in the West. Originally published in 1990. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.