Art History: Contemporary Perspectives on Method

Art History: Contemporary Perspectives on Method

Dana Arnold

Language: English

Pages: 184

ISBN: 1444333593

Format: PDF / Kindle (mobi) / ePub


Art History: Contemporary Perspectives on Method examines the various patterns and approaches to the discipline of art history exhibited across the scholarship of all periods over the last 30 years, resulting in a cross section of art history in all its complexities and a timely survey of its historiography. * Newly commissioned essays by a group of international scholars * Takes a trans-disciplinary approach to the history of Art History * Each essay presents original and incisive arguments * The essays combine to present a thought provoking re-evaluation of the methods of Art History

Claude Monet

Francisco Goya (Great Masters)

Giotto: La pittura (Art dossier Giunti)

Sacred Founders: Women, Men, and Gods in the Discourse of Imperial Founding, Rome Through Early Byzantium

Romanticism & the School of Nature: Nineteenth-Century Drawings and Paintings from the Karen B. Cohen Collection

The Arts of Thailand

 

 

 

 

 

 

 

 

 

 

Webber, 2003. For Vermeer, John Michael Montias, Vermeer and his Milieu, Princeton, NJ, 1989; on maids in seventeenth-century Holland, see Simon Schama, The Embarrassment of Riches: An Inter­ pretation of Dutch Culture in the Golden Age, New York, 1987. It is more satisfying to imagine the painting than to see the film, which is so dark and dreary that it brings to mind not sparkling Delft but smoggy Pittsburgh. For the inventory, see Montias, Vermeer, 339–44. Montias, Vermeer, 134–5, 246–54,

because it requires endurance, strength, the ability to tolerate and trans­ cend discomfort. Michelangelo’s gendering of oil painting as feminine should therefore be understood to stem from the relative lack of effort required to produce works in that medium when contrasted with the exertions necessary to create a fresco. And it is only when we understand the artist’s criticism of oil in this context that we can comprehend the rhetoric of an image such as Artemisia Gentileschi’s Self-Portrait as

difference to write about Johns’ technique but could not resolve it into ‘either a masculine or a feminine handling and touching’.103 Orton reads this as a reaction to the character and technique of the first generation of New York school painters. Johns makes something that differs from the works of that generation, which goes against abstract expressionism, with its ‘machismotifics’.104 The artist seems to be striving to work with and against a form of masculinity through his technique, in an

and nationality are defined within a framework that supports and justifies the ideology of the colonizing empire. At its core, Irigaray’s argument is that at the threshold of one’s perceptual field all differences are inhibited or construed in such a way as to reinforce what the seer already knows about his or her place in the world. The seer is never really shaken, touched, or moved out of this solipsistic standpoint by that which does not fulfil the intention of his or her look. The act of seeing

either the 1914–18 war or the 1939–45 war to delimit the contemporary period. 20 My survey certainly is Eurocentric, since I have not been able to discuss here what is presented as the most recent state of the arts within the chapters, in so far as they exist, on non-European art. 21 ‘Contemporary art’, http://en.wikipedia.org/wiki/ Contemporary_art (accessed 13 October 2008). 22 Baudelaire, ‘The Painter’, 1–41. See also Stephen Bann, Ways Around Modernism, New York and London, 2007, which is

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