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The first volume in the series Cambridge Studies in Philosophy and the Arts offers a range of responses by distinguished philosophers and art historians to some crucial issues generated by the relationship between the art object and language in art history. Each of the chapters in this volume is a searching response to theoretical and practical questions in terms accessible to readers of all human science disciplines. The editors, one a philosopher and one an art historian, provide an introductory chapter which outlines the themes of the volume and explicates the terms in which they are discussed. The contributors open new avenues of enquiry involving concepts of 'presence', 'projective properties', visual conventions and syntax, and the appropriateness of figurative language in accounting for visual art. The issues they discuss will challenge the boundaries to thought that some contemporary theorising sustains.
The argument moves from the art and civilization of ancient Egypt to that of modern Europe and effortlessly reveals a full and surprising range of language in art - from the magical to the impious, from the ambiguous to the didactic, scientific, and propagandistic.
Communicating art and cultural heritage has become a crucial and challenging task, since these sectors, together with tourism heritage, represent a key economic resource worldwide. In order to activate this economic and social potential, art and cultural heritage need to be disseminated through effective communicative strategies. Adopting a wide variety of digital humanities approaches and a plurilingual perspective, the essays gathered in this book provide an extensive and up-to-date overview of digital linguistic resources and research methods that will contribute to the design and implementation of such strategies. Cultural and artistic content curators, specialised translators in the fields of art, architecture, tourism and web documentaries, researchers in art history and tourism communication, and cultural heritage management professionals, among others, will find this book extremely useful due to its provision of some concrete applications of innovative methods and tools for the study and dissemination of art and heritage knowledge.
"In this 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."--from book jacket
Why is something a masterpiece? Art History 101 . . . Without the Exams is about revisiting famous works of art that we may have studied in an art history class or seen in a textbook. Each discussion delves into one great masterpiece and asks the questions that help us understand how it has shaped history. What is the piece about? How did the original owner look at this piece? Where was it originally placed? Why is it in this museum now? How did it get famous? From the sixth-century mosaics of Ravenna and the painted bulls of Altamira, Spain, dated 12,500 BCE, to an incense burner from twelfth-century Seljuk Iran, frescoes from a Late Byzantine funerary chapel, and masterworks by Botticelli, Caravaggio, Monet, and Sargent, this book shows readers how to look closely. It welcomes us to the joy of art history—but without the papers, notes, and exams.
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.
Critical and theoretical essays by a long-time participant in the Art & Language movement. These essays by art historian and critic Charles Harrison are based on the premise that making art and talking about art are related enterprises. They are written from the point of view of Art & Language, the artistic movement based in England—and briefly in the United States—with which Harrison has been associated for thirty years. Harrison uses the work of Art & Language as a central case study to discuss developments in art from the 1950s through the 1980s. According to Harrison, the strongest motivation for writing about art is that it brings us closer to that which is other than ourselves. In seeing how a work is done, we learn about its achieved identity: we see, for example, that a drip on a Pollock is integral to its technical character, whereas a drip on a Mondrian would not be. Throughout the book, Harrison uses specific examples to address a range of questions about the history, theory, and making of modern art—questions about the conditions of its making and the nature of its public, about the problems and priorities of criticism, and about the relations between interpretation and judgment.
A to is Riegl (1858-1905) was one of the greatest modern art historians. The most important member of the so-called "Vienna School," Riegl developed a highly refined technique of visual or formal analysis, as opposed to the iconological method with its emphasis on decoding motifs through recourse to texts. Riegl also pioneered understanding of the changing role of the viewer, the significance of non-high art objects or what would now be called visual or material culture, and theories of art and art history, including his much-debated neologism Kunstwollen (the will of art). At last, his Historical Grammar of the Visual Arts, which brings together the diverse threads of his thought, is available to an English-language audience, in a superlative translation by Jacqueline E. Jung. In one of the earliest and perhaps the most brilliant of all art historical "surveys," Riegl addresses the different visual arts within a sweeping conception of the history of culture. His account derives, from Hegelian models but decisively opens onto alternative pathways that continue to complicate attempts to reduce art merely to the artist's intentions or its social and historical functions. Book jacket.
Analyzing the literature on art from the fifteenth and sixteenth centuries, The Spiritual Language of Art explores the complex relationship between visual art and spiritual experiences during the Italian Renaissance. Though scholarly research on these writings has predominantly focused on the influence of classical literature, this study reveals that Renaissance authors consistently discussed art using terms, concepts and metaphors derived from spiritual literature. By examining these texts in the light of medieval sources, greater insight is gained on the spiritual nature of the artist’s process and the reception of art. Offering a close re-readings of many important writers (Alberti, Leonardo, Vasari, etc.), this study deepens our understanding of attitudes toward art and spirituality in the Italian Renaissance.
This undergraduate text covers the standard (old and new) methodological approaches to art history, in a clear, direct and understandable way.