Search results for 'Art criticism History' (try it on Scholar)

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  1. Jenefer M. Robinson (1981). Style and Significance in Art History and Art Criticism. Journal of Aesthetics and Art Criticism 40 (1):5-14.
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  2.  7
    Hugh Plommer (1976). The Ancient View of Greek Art J. J. Pollitt: The Ancient View of Greek Art: Criticism, History and Terminology. Pp. Xiv + 464. New Haven and London: Yale University Press, 1974. Cloth. [REVIEW] The Classical Review 26 (02):250-252.
  3.  28
    David Carrier (2002). Rosalind Krauss and American Philosophical Art Criticism: From Formalism to Beyond Postmodernism. Praeger.
    Machine generated contents note: Introduction: The Rise of Philosophical Art Criticism 1 -- Chapter 1. In the Beginning Was Formalism 17 -- Chapter 2. The Structuralist Adventure 33 -- Chapter 3. The Historicist, Antiessentialist Definition of Art 55 -- Chapter 4. Resentment and Its Discontents 71 -- Chapter 5. The Deconstruction of Structuralism 87 -- Afterword: The Fate of Philosophical Art Criticism 111.
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  4.  1
    Bluitgen KÃ¥re (2009). Picturing the Prophets: Should Art Create Doubt?: Children's Literature -- History and Criticism. Journal of the History of Philosophy 47 (3):10-14.
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  5.  15
    Jennifer R. March (1995). Viewing Culture S. Goldhill, R. Osborne (Edd.): Art and Text in Ancient Greek Culture. (Cambridge Studies in New Art History and Criticism.) Pp. Xiii+341, 34 Figs. Cambridge: Cambridge University Press, 1994. Cased, £40/$64.95. [REVIEW] The Classical Review 45 (02):375-377.
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  6. G. P. Weisberg (2000). Defining the Renaissance Virtuosa: Women Artists and the Language of Art History and Criticism. By Fredrika H. Jacobs. The European Legacy 5 (4):614-614.
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  7.  3
    Jacqueline Marie Musacchio (1999). Fredrika H. Jacobs, Defining the Renaissance “Virtuosa”: Women Artists and the Language of Art History and Criticism. Cambridge, Eng.: Cambridge University Press, 1997. Pp. Xiv, 229; 32 Black-and-White Figures. $60. [REVIEW] Speculum 74 (4):1075-1076.
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  8.  2
    Madeline H. Caviness (1993). Michael Camille, The Gothic Idol: Ideology and Image-Making in Medieval Art.(Cambridge New Art History and Criticism.) Cambridge, Eng.: Cambridge University Press, 1989. Pp. Xxxiv, 407; 181 Black-and-White Illustrations. $59.50. Paperback Edition, 1990, $27.95. [REVIEW] Speculum 68 (1):120-122.
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  9.  2
    John Marciari (2000). Paolo Berdini, The Religious Art of Jacopo Bassano: Painting as Visual Exegesis.(Cambridge Studies in New Art History and Criticism.) Cambridge, Eng.: Cambridge University Press, 1997. Pp. Xiv, 208 Plus 8 Color Plates; 43 Black-and-White Figures. $60. [REVIEW] Speculum 75 (2):440-441.
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  10.  3
    Todd Boli (2001). Jill M. Ricketts, Visualizing Boccaccio: Studies on Illustrations of” The Decameron,” From Giotto to Pasolini.(Cambridge Studies in New Art History and Criticism.) Cambridge, Eng.: Cambridge University Press, 1997. Pp. X, 214; 29 Black-and-White Illustrations. $60. [REVIEW] Speculum 76 (2):507-512.
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  11. Benedetto Croce (2007). 4. Criticism and the History of Art. In Breviary of Aesthetics: Four Lectures. University of Toronto Press 58-72.
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  12. Jacqueline Marie Musacchio (1999). Defining the Renaissance "Virtuosa": Women Artists and the Language of Art History and Criticism.Fredrika H. Jacobs. Speculum 74 (4):1075-1076.
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  13. Arthur Coleman Danto (1998). The Wake of Art: Essays: Criticism, Philosophy and the Ends of Taste. G+B Arts Int'l.
    Since the mid-1980s, Arthur C. Danto has been increasingly concerned with the implications of the demise of modernism. Out of the wake of modernist art, Danto discerns the emergence of a radically pluralistic art world. His essays illuminate this novel art world as well as the fate of criticism within it. As a result, Danto has crafted the most compelling philosophy of art criticism since Clement Greenberg. Gregg Horowitz and Tom Huhn analyze the constellation of philosophical and critical (...)
     
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  14.  11
    Arthur C. Danto (1998). After the End of Art: Contemporary Art and the Pale of History. Princeton University Press.
    Over a decade ago, Arthur Danto announced that art ended in the sixties. Ever since this declaration, he has been at the forefront of a radical critique of the nature of art in our time. After the End of Art presents Danto's first full-scale reformulation of his original insight, showing how, with the eclipse of abstract expressionism, art has deviated irrevocably from the narrative course that Vasari helped define for it in the Renaissance. Moreover, he leads the way to a (...)
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  15. Vishwanath Pandey (ed.) (1976). The Orient: The World of Jainism: Jaina History, Art, Literature, Philosophy and Religion. Pandey.
    Pandey, V. Introduction.--Kalelkar, K. S. Jainism, a familyhood of all religions.--David, M. D. From Risabha to Mahavira.--Chalil, J. E. Glimpses of Southern Jainism.--Gopani, A. S. Life and culture in Jaina narrative literature, 8th, 9th and 10th century A.D.--Gopani, A. S. Position of women in Jaina literature.--Ranka, R. Evolution of Jaina thought.--Pandey, V. Jaina philosophy and religion.--Shah, C. C. Jainism and modern life.--Sankalia, H. D. The great renunciation.--Shah, U. P. Jaina contribution to Indian art.--Gorakshkar, S. Early metal images of the Jainas.--Bhagwati, (...)
     
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  16.  1
    Rolf Dieter Herrmann (1971). How a European Views the Journal of Aestehtics and Art Criticism. Journal of Aesthetics and Art Criticism 29:499-506.
    How have the theories of aesthetics which were worked out in europe evolved in america? are there widely differing standpoints between european and american aestheticians? what herrmann tried to do, to shed light on these questions, was to look over the issues of "the journal of aesthetics and art criticism" since 1941. thomas munro, a pupil of john dewey and founder of the journal tried to provide in the united states a broader and more open-ended and undogmatic platform for (...)
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  17.  5
    Stephen Melville, Lynne Cook, Michael Newman, Whitney Davis & Guy Brett (2008). The State of Art Criticism. Journal of Aesthetics and Art Criticism 18 (3).
    About the Author James Elkins is E.C. Chadbourne Chair in the Department of Art History, Theory, and Criticism at the School of the Art Institute of Chicago. His many books include Pictures and Tears, How to Use Your Eyes, and What Painting Is, all published by Routledge. Michael Newman teaches in the Department of Art History, Theory, and Criticism at the School of the Art Institute of Chicago, and is Professor of Art Writing at Goldsmiths College (...)
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  18. Mark A. Cheetham (2001). Kant, Art, and Art History: Moments of Discipline. Cambridge University Press.
    Kant, Art, and Art History is the first systematic study of Kant's reception of and influence on the visual arts and art history. Arguing against Kant's transcendental approach to aesthetic judgment, Cheetham examines five 'moments' of his influence, including the use of Kant's political writings among German-speaking artists and critics in Rome around 1800; the canonized patterns of Kant's reception in late nineteenth- and early twentieth-century art history, particularly in the work of Wölfflin and Panofsky; and the (...)
     
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  19.  22
    Paul Crowther (2002). The Transhistorical Image: Philosophizing Art and its History. Cambridge University Press.
    Why are visual artworks experienced as having intrinsic significance or normative depth? Why are some works of art better able to manifest this significance than others? In his latest book Paul Crowther argues that we can answer these questions only if we have a full analytic definition of visual art. Crowther's approach focuses on the pictorial image, broadly construed to include abstract work and recent conceptually-based idioms. The significance of art depends, however, essentially on the transhistorical nature of the pictorial (...)
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  20.  29
    Steve Baker (1981). Frank Kermode and Art Criticism. British Journal of Aesthetics 21 (2):130-138.
    As a criterion for judging avant-garde art, newness has been regarded as more important than excellence. kermode's single venture into art criticism, "objects, jokes & art," suggests this search for the new has led to a trivialisation of art. ideas from his more recent literary criticism such as "the classic" could be applied to avant-garde art, providing a non-reactionary means of assessing value on the basis of a work's openness to a plurality of interpretations. this would offer an (...)
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  21.  19
    Dee Reynolds (1995). Symbolist Aesthetics and Early Abstract Art: Sites of Imaginary Space. Cambridge University Press.
    This book presents an innovative analysis of the role of imagination as a central concept in both literary and art criticism. Dee Reynolds brings this approach to bear on works by Rimbaud, Mallarme;, Kandinsky, and Mondrian. It allows her to redefine the relationship between Symbolism and abstract art, and to contribute new methodological perspectives to comparative studies of poetry and painting. The late nineteenth and early twentieth century was a crucial period in the emergence of new modes of representation, (...)
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  22.  58
    Jonathan Gilmore (2000). The Life of a Style: Beginnings and Endings in the Narrative History of Art. Cornell University Press.
    In The Life of a Style, Jonathan Gilmore claims that such narrative developments inhere in the history of art itself.By exploring such topics as the discovery ...
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  23.  7
    N. Carroll (1998). The End of Art? (Philosophy of Art History). History and Theory 37 (4):17-29.
    This article focuses on the arguments that Arthur Danto has advanced for alleging that the developmental history of art is over. The author is skeptical of Danto's conclusion and maintains that Danto has failed to demonstrate that art history is necessarily closed. The author also contends that Danto's end-of-art thesis is better construed as a specimen of art criticism than as an example of the speculative philosophy of art history.
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  24.  22
    Arnold Hauser (1958). The Philosophy of Art History. New York, Knopf.
    First published in 1959, this book is concerned with the methodology of art history, and so with questions about historical thinking; it enquires what scientific history of art can accomplish, what are its mean and limitations? It contains philosophical reflections on history and begins with chapters on the scope and limitations of a sociology of art, and the concept of ideology in the history of art. The chapter on the concept of "art history without names" (...)
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  25.  3
    Salim Kemal & Ivan Gaskell (1994). The Language of Art History. Journal of Aesthetics and Art Criticism 52 (2):249-250.
    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 (...)
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  26.  23
    Tiffany Sutton (2000). The Classification of Visual Art: A Philosophical Myth and its History. Cambridge University Press.
    This book is an important and original contribution to the philosophy of art that bridges the disciplines of philosophy and art. It engages with a long-standing debate about what it is that bestows the designation 'art' on an artwork. Tiffany Sutton shows how the history of art should influence the classification of visual art. She considers the various theories that have been put forward to define the nature of the artwork and then offers her own set of classificatory norms. (...)
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  27.  31
    Jennifer A. McMahon, Session Title: Art History and Philosophy.
    This symposium is inspired by the round tables organised by James Elkins in Cork, Ireland and Chicago which aimed to create a dialogue between art historians and philosophers on concepts which are central to the way both disciplines conduct their respective endeavours. For our symposium, art historians and philosophers will discuss topics and concepts which are likely to be given different interpretations by the respective disciplines. We will attempt to bridge the gap between the respective interpretations by inviting a closer (...)
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  28.  3
    David Carrier (1987). Piero Della Francesca and His Interpreters: Is There Progress in Art History? History and Theory 26 (2):150-165.
    The existence of conflicting interpretations in literature, history, and art history casts doubt on the ability of any interpretation to be true to the facts. The role of the art historian is complicated by this reconsideration of what is valuable in interpretation. Progress in the history of art is difficult to ascertain. The scope and diversity of twentieth-century criticism of Piero della Francesca's Renaissance frescoes is difficult to compare to his less extensive Renaissance criticism by (...)
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  29. Donald Preziosi (1992). The Question of Art History. Critical Inquiry 18 (2):363-386.
    Until fairly recently, most of the attention of art historians and others in these debates has been paid to differences among the partisans of various disciplinary methodologies, or to the differential benefits of one or another school of thought or theoretical perspective in other areas of the humanities and social sciences as these might arguably apply to questions of art historical practice.1 Yet there has also come about among art historians a renewed interest in the historical origins of the academic (...)
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  30. Mark A. Cheetham (2009). Kant, Art, and Art History: Moments of Discipline. Cambridge University Press.
    Kant, Art, and Art History is the first systematic study of Kant's reception of and influence on the visual arts and art history. Arguing against Kant's transcendental approach to aesthetic judgement, Cheetham examines five 'moments' of his influence, including the use of Kant's political writings among German-speaking artists and critics in Rome around 1800; the canonized patterns of Kant's reception in late nineteenth- and early twentieth-century art history, particularly in the work of Wölfflin and Panofsky; and the (...)
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  31. Francis Halsall, Julia Jansen & Tony O'Connor (eds.) (2008). Rediscovering Aesthetics: Transdisciplinary Voices From Art History, Philosophy, and Art Practice. Stanford University Press.
    _Rediscovering Aesthetics_ brings together prominent international voices from art history, philosophy, and artistic practice to discuss the current role of aesthetics within and across their disciplines. Following a period in which theories and histories of art, art criticism, and artistic practice seemed to focus exclusively on political, social, or empirical interpretations of art, aesthetics is being rediscovered both as a vital arena for discussion and a valid interpretive approach outside its traditional philosophical domain. This volume is distinctive, because (...)
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  32. Daniel Herwitz & Michael Kelly (eds.) (2007). Action, Art, History: Engagements with Arthur C. Danto. Columbia University Press.
    This volume pays tribute to both Danto's brilliant capacity to move between philosophy and contemporary culture and his pathbreaking achievements in philosophy, art history, and art criticism.
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  33. David Carrier (1998). Danto and His Critics Art History, Historiography and After and End of Art. Wesleyan University Press.
     
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  34.  17
    John O'Brian (2005). Bernard Smith's Early Marxist Art History. Thesis Eleven 82 (1):29-37.
    In a systematic investigation of national art histories, Bernard Smith’s Place, Taste and Tradition: A Study of Australian Art since 1788, first published in 1945, would likely emerge as an Ur-text of the genre. The book’s rewriting of Australian art history within a Marxist tradition of ‘culturalist’ criticism was a major advance on the available models. Its success stems in no small part from its judicious and balanced account of how social forces intersect. The book privileges economic production (...)
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  35.  13
    Jonathan Gilmore (1995). David Carrier's Art History. Journal of Aesthetics and Art Criticism 53 (1):39-47.
    It is a commonplace now among art historians that to say, with Ruskin, that an artist had an "innocent eye" was to give the artist an empty compliment. It would have been to say that the artist possessed something no one could possess, and that, if we follow E. H. Gombrich, the artist was not part of the history of art. Gombrich's goal was to show that the history of art was constituted by artists "making and matching" as (...)
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  36.  34
    Arthur C. Danto (1996). Art, Essence, History, and Beauty: A Reply to Carrier, a Response to Higgins. Journal of Aesthetics and Art Criticism 54 (3):284-287.
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  37.  10
    Donald Brook (2002). Art and History. Journal of Aesthetics and Art Criticism 60 (4):331–340.
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  38.  9
    Melvin Rader (1967). Art and History. Journal of Aesthetics and Art Criticism 26 (2):157-168.
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  39.  8
    John M. Anderson (1967). Art or History? Journal of Aesthetics and Art Criticism 25 (4):407-412.
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  40.  4
    Mara Miller (2010). Muroji: Rearranging Art and History at a Japanese Buddhist Temple by Fowler, Sherry D. Daitokuji: The Visual Cultures of a Zen Monastery by Levine, Gregory P. A. [REVIEW] Journal of Aesthetics and Art Criticism 68 (2):176-179.
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  41. Mara Miller (forthcoming). Review of Sherry D. Fowler's Muroji: Rearranging Art and History at a Japanese Buddhist Temple and Gregory Levine's Daitokuji: The Visual Cultures of a Zen Monastery. [REVIEW] Journal of Aesthetics and Art Criticism.
     
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  42.  10
    Robert Piercey (2003). Active Mimesis and the Art of History of Philosophy. International Philosophical Quarterly 43 (1):29-42.
    It is often argued that a study of the history of philosophy is not itself philosophical. Philosophy, it is claimed, is an active, productive enterprise, whereas history is taken to be imitative and therefore passive. My aim in this paper is to argue against this view of the history of philosophy. First, I describe a famous criticism of historians of philosophy—Kant’s critique of the “spirit of imitation.” I claim that the source of this criticism is (...)
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  43.  3
    Robert Hass (2012). What Light Can Do: Essays on Art, Imagination, and the Natural World. Ecco/Harpercollins.
    A perceptive and evocative mixture of memory, philosophical interrogation, and criticism, the essays in What Light Can Do, finely attuned to the pleasures and pains of being human, are always grounded in the beauty of the material world and ...
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  44. Karen-Edis Barzman (1994). Beyond the Canon: Feminists, Postmodernism, and the History of Art. Journal of Aesthetics and Art Criticism 52 (3):327-339.
  45.  27
    Ingrid Scheibler (1999). Effective History and the End of Art: From Nietzsche to Danto. Philosophy and Social Criticism 25 (6):1-28.
    This article takes its shape from a recent conference at the School of Visual Arts in NYC on the theme, 'Tradition and the New: Educating the Artist for the Millennium'. Central to the way the conference was advertised and described was an implicit tendency to view tradition as wholly separate from the new. While the conference did not itself make a theoretical argument for the opposition of tradition and the new, Arthur Danto's recent elaboration of a thesis of the 'end (...)
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  46. John Harry North (2012). Winckelmann's 'Philosophy of Art': A Prelude to German Classicism. Cambridge Scholars Publishing.
     
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  47.  5
    Larry Shiner (2003). The Invention of Art: A Cultural History. Journal of Aesthetics and Art Criticism 61 (4):401-403.
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  48. J. P. Hodin (1955). Art History or the History of Culture: A Contemporary German Problem. Journal of Aesthetics and Art Criticism 13 (4):469-477.
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  49. Makoto Ueda (1961). Zeami on Art: A Chapter for the History of Japanese Aesthetics. Journal of Aesthetics and Art Criticism 20 (1):73-79.
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  50. Thomas Munro (1960). The Marxist Theory of Art History: Socio-Economic Determinism and the Dialectical Process. Journal of Aesthetics and Art Criticism 18 (4):430-445.
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