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

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  1. David Carrier (2002). Rosalind Krauss and American Philosophical Art Criticism: From Formalism to Beyond Postmodernism. Praeger.score: 116.0
    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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  2. Arthur Coleman Danto (1998). The Wake of Art: Essays: Criticism, Philosophy and the Ends of Taste. G+B Arts Int'l.score: 110.0
    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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  3. Jenefer M. Robinson (1981). Style and Significance in Art History and Art Criticism. Journal of Aesthetics and Art Criticism 40 (1):5-14.score: 101.0
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  4. Vishwanath Pandey (ed.) (1976). The Orient: The World of Jainism: Jaina History, Art, Literature, Philosophy and Religion. Pandey.score: 93.0
    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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  5. Dee Reynolds (1995). Symbolist Aesthetics and Early Abstract Art: Sites of Imaginary Space. Cambridge University Press.score: 92.0
    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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  6. 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.score: 90.0
  7. Rolf Dieter Herrmann (1971). How a European Views the Journal of Aestehtics and Art Criticism. Journal of Aesthetics and Art Criticism 29:499-506.score: 85.0
    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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  8. Stephen Melville, Lynne Cook, Michael Newman, Whitney Davis & Guy Brett (2008). The State of Art Criticism. Journal of Aesthetics and Art Criticism 18 (3).score: 83.0
    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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  9. 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.score: 81.0
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  10. 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.score: 81.0
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  11. 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.score: 81.0
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  12. 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.score: 81.0
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  13. 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.score: 81.0
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  14. 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.score: 81.0
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  15. Johann Joachim Winckelmann (2005). Essay on the Philosophy and History of Art. Continuum.score: 76.0
    v. 1. Description of the torso in the Belvedere in Rome, Essay on the capacity for the sentiment for the beautiful in art, Reflections on the painting and sculpture of the Greeks -- v. 2. The history of ancient art (vols. I, II) -- v. 3. The history of ancient art (vols. III, IV).
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  16. Paul Crowther (2002). The Transhistorical Image: Philosophizing Art and its History. Cambridge University Press.score: 76.0
    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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  17. Noel Carroll (2012). History and the Philosophy of Art. Journal of the Philosophy of History 5 (3):370-382.score: 75.0
    Abstract In this essay I trace the role of history in the philosophy of art from the early twentieth century to the present, beginning with the rejection of history by formalists like Clive Bell. I then attempt to show how the arguments of people like Morris Weitz and Arthur Danto led to a re-appreciation of history by philosophers of art such as Richard Wollheim, Jerrold Levinson, Robert Stecker and others.
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  18. Axel Gelfert (2012). Art History, the Problem of Style, and Arnold Hauser's Contribution to the History and Sociology of Knowledge. Studies in East European Thought 64 (1-2):121-142.score: 72.0
    Much of Arnold Hauser’s work on the social history of art and the philosophy of art history is informed by a concern for the cognitive dimension of art. The present paper offers a reconstruction of this aspect of Hauser’s project and identifies areas of overlap with the sociology of knowledge—where the latter is to be understood as both a separate discipline and a going intellectual concern. Following a discussion of Hauser’s personal and intellectual background, as well as of (...)
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  19. Risto Pitkänen (2010). Art and its History. Nordic Journal of Aesthetics 21 (39).score: 72.0
    The paper argues that something is art only if (i) it belongs to a special kind of internal history and (ii) needs to be understood and appreciated in the light of such history. This goes against both the traditional view that art has a timeless, ahistorical essence and the historicist view that there can be no ahistorical perspective for understanding art. The paper draws on Hegel’s view that art needs to be understood through its history, but rejects (...)
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  20. Steve Baker (1981). Frank Kermode and Art Criticism. British Journal of Aesthetics 21 (2):130-138.score: 71.0
    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. Mark A. Cheetham (2001). Kant, Art, and Art History: Moments of Discipline. Cambridge University Press.score: 71.0
    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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  22. Robert Hass (2012). What Light Can Do: Essays on Art, Imagination, and the Natural World. Ecco/Harpercollins.score: 70.0
    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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  23. Jerome[from old catalog] Stolnitz (1960). Aesthetics and Philosophy of Art Criticism. Boston, Houghton Mifflin.score: 70.0
     
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  24. John Harry North (2012). Winckelmann's 'Philosophy of Art': A Prelude to German Classicism. Cambridge Scholars Publishing.score: 69.0
     
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  25. N. Carroll (1998). The End of Art? (Philosophy of Art History). History and Theory 37 (4):17-29.score: 68.0
    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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  26. Charles Joseph Biederman (1948). Art as the Evolution of Visual Knowledge. Red Wing, Minn..score: 67.0
     
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  27. Dorota Heck (2010). Four Dilemmas: Theory, Criticism, History, Faith: Sketches on the Threshold of Literary Anthropology. Księgarnia Akademicka.score: 66.0
    Dilemma one, Between the theoretical concepts and authorial intention -- Dilemma two, Good manners and eristic -- Dilemma three, Between strangeness and familiarity -- Dilemma four, Between scholarly research and faith.
     
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  28. Robert Nelson (2007). The Spirit of Secular Art: A History of the Sacramental Roots of Contemporary Artistic Values. Monash University Epress.score: 66.0
     
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  29. Nicolas J. Bullot & Rolf Reber (2013). The Artful Mind Meets Art History: Toward a Psycho-Historical Framework for the Science of Art Appreciation. Behavioral and Brain Sciences 36 (2):123-180.score: 63.0
    Research seeking a scientific foundation for the theory of art appreciation has raised controversies at the intersection of the social and cognitive sciences. Though equally relevant to a scientific inquiry into art appreciation, psychological and historical approaches to art developed independently and lack a common core of theoretical principles. Historicists argue that psychological and brain sciences ignore the fact that artworks are artifacts produced and appreciated in the context of unique historical situations and artistic intentions. After revealing flaws in the (...)
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  30. Jean-François Lyotard (2012). Textes Dispersés. Leuven University Press.score: 63.0
    1. Esthétique et théorie de l'art = Aesthetics and theory of art -- 2. Artistes contemporains = Contemporary artists.
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  31. John O'Brian (2005). Bernard Smith's Early Marxist Art History. Thesis Eleven 82 (1):29-37.score: 63.0
    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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  32. Roger Taylor (1978). Art, an Enemy of the People. Harvester Press.score: 63.0
     
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  33. Moshe Barasch (1985/2000). Theories of Art. Routledge.score: 62.0
    In this volume, the third in his classic series on art theory, Moshe Barasch traces the hidden patterns and interlocking themes in the study of art, from impressionism to abstract art. Barasch details the immense social changes in the creation, presentation, and reception of art which have set the history of art theory on a vertiginous new course: the decreased relevance of workshops and art schools; the replacement of the treatise by the critical review; and the emerging interrelationship between (...)
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  34. Jonathan Gilmore (1995). David Carrier's Art History. Journal of Aesthetics and Art Criticism 53 (1):39-47.score: 62.0
    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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  35. Ernest Mathijs & Bert Mosselmans (2000). Mimesis and the Representation of Reality: A Historical World View. [REVIEW] Foundations of Science 5 (1):61-102.score: 61.0
    The representation of reality is a fundamental concept in the perception of theworld. Its historical consideration leads to an understanding of historical andcontemporary culture. In this paper we specifically investigate theanthropometric stage of cultural development as a historical world view. Wedefine this stage on the basis of René Girard's hypotheses on the origin ofculture, and we isolate its principles. Next, we consider the function of art asthe representation of cultural values. We investigate the three major motivesof artistic representation in the (...)
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  36. Nicodemo Napoleone (2005). Considerazioni Sull'arte. Tracce.score: 61.0
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  37. Mirela-Codruta Abrudan (2013). History, Religion, Art - An Interdisciplinary Perspective on Transylvanian Realities. Journal for the Study of Religions and Ideologies 12 (34):237-250.score: 60.0
    Review of Sorina Paula Bolovan (ed.), Ciprian Firea, Nicoleta Marţian, Sorin Marţian, Diana Covaci, Călătorie prin patrimoniul ecleziastic transilvănean. Ghid istoric, artistic şi pastoral (Journey through the Transylvanian Ecclesiastic Heritage. Historical, Artistic and Pastoral Guide), (Cluj-Napoca: Mega, 2011).
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  38. Marco Bertozzi (2008). Il Detective Melanconico E Altri Saggi Filosofici. Feltrinelli.score: 60.0
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  39. Geoff Boucher (2012). Adorno Reframed: Interpreting Key Thinkers for the Arts. I.B. Tauris.score: 60.0
    Dismissed as a miserable elitist who condemned popular culture in the name of 'high art', Theodor W. Adorno (1903–1969) is one of the most provocative and important yet least understood of contemporary thinkers. This book challenges this popular image and re-examines Adorno as a utopian philosopher who believed authentic art could save the world. Adorno Reframed is not only a comprehensive introduction to the reader coming to Adorno for the first time, but also an important re-evaluation of this founder of (...)
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  40. E. H. Gombrich (1979). Ideals and Idols: Essays on Values in History and in Art. Phaidon.score: 60.0
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  41. Theodore Meyer Greene (1940). The Arts and the Art of Criticism. Princeton, Princeton University Press.score: 60.0
     
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  42. Michael Ann Holly & Keith P. F. Moxey (eds.) (2002). Art History, Aesthetics, Visual Studies. Sterling and Francine Clark Art Institute.score: 60.0
     
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  43. Kia Lindroos (1998). Now-Time Image-Space: Temporalization of Politics in Walter Benjamin's Philosophy of History and Art. University of Jyväskylä.score: 60.0
     
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  44. Myŏng-U. No (2008). Abanggarŭdŭ. ChʼAek Sesang.score: 60.0
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  45. Zhixiang Qi (2008). Zhongguo Mei Xue Tong Shi. Ren Min Chu Ban She.score: 60.0
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  46. Wensheng Wang (2008). Zhongguo Mei Xue Shi: Qing Wei Lun de Li Shi Fa Zhan. Shanghai Wen Yi Chu Ban She.score: 60.0
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  47. D. R. Anderson (forthcoming). JSTOR: The Journal of Aesthetics and Art Criticism, Vol. 50, No. 4 (Autumn, 1992), Pp. 299-305. Journal of Aesthetics and Art Criticism.score: 59.0
    In the strong or radical sense, the creation of a work of art succeeds, as Kant said, in exhibiting originality that is exemplary and unteachable. The creative artist generates new and valuable outcomes. He or she accomplishes this in a way that is neither predictable before it ..
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  48. V. G. Arslanov (2007). Postmodernizm I Russkiĭ "Tretiĭ Putʹ": Tertium Datur Rossiĭskoĭ Kulʹtury Xx Veka. Kulʹturnai͡a Revoli͡ut͡sii͡a.score: 58.0
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  49. Evgeniĭ Sergeevich Gromov (2004). Iskusstvo I Germenevtika: V Ee Ėsteticheskikh I Sot͡siologicheskikh Izmerenii͡akh. Aleteĭi͡a.score: 58.0
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  50. Gideon Ofrat (2012). Zehut, Zikaron, Tarbut: Mivḥar Maʼamarim, 2008-2012. Karmel.score: 58.0
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