Results for 'art history'

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  1. Art History, the Problem of Style, and Arnold Hauser’s Contribution to the History and Sociology of Knowledge.Axel Gelfert - 2012 - Studies in East European Thought 64 (1-2):121-142.
    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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  2.  98
    The Artful Mind Meets Art History: Toward a Psycho-Historical Framework for the Science of Art Appreciation.Nicolas J. Bullot & Rolf Reber - 2013 - Behavioral and Brain Sciences 36 (2):123-137.
    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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  3.  17
    Art History, History of Science, and Visual Experience.Sven Dupré - 2010 - Isis 101:618-622.
    The Human Animal in Western Art and ScienceLeonardoLeonardo da Vinci: Experience, Experiment, and DesignSeen | Unseen: Art, Science, and Intuition from Leonardo to the Hubble Space Telescope by Martin Kemp; Martin Kemp; Martin Kemp; Martin Kemp.
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  4.  6
    Action, Art, History: Engagements with Arthur C. Danto.Daniel Herwitz & Michael Kelly (eds.) - 2007 - 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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  5.  22
    Art History, the Problem of Style, and Arnold Hauser’s Contribution to the History and Sociology of Knowledge.Axel Gelfert - 2012 - Studies in East European Thought 64 (1-2):121-142.
    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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  6.  6
    Art History, History of Science, and Visual ExperienceMartin Kemp. The Human Animal in Western Art and Science. 320 Pp., Illus., Figs., Bibl., Index. Chicago/London: University of Chicago Press, 2007. $40 .Martin Kemp. Leonardo. Xviii + 286 Pp., Plates, Figs., Index. Oxford: Oxford University Press, 2004. $26 .Martin Kemp. Leonardo da Vinci: Experience, Experiment, and Design. 213 Pp., Illus., Index. Princeton, N.J./Oxford: Princeton University Press, 2006. $60 .Martin Kemp. Seen | Unseen: Art, Science, and Intuition From Leonardo to the Hubble Space Telescope. Xvi + 352 Pp., Figs., Illus., Index. Oxford: Oxford University Press, 2006. $45. [REVIEW]Sven Dupré - 2010 - Isis 101 (3):618-622.
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  7.  2
    Art History and Class Struggle.Nicos Hadjinicolaou - 1978 - Pluto Press.
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  8. The Philosophy of Art History.Arnold Hauser - 1958 - 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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  9.  24
    Embodiment, Art History, Theodicy, and The Abuse of Beauty: A Response to My Critics.A. Danto - 2005 - Inquiry: An Interdisciplinary Journal of Philosophy 48 (2):189-200.
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  10.  13
    Rethinking Art History: Meditations on a Coy Science.Donald Preziosi - 1991 - Journal of Aesthetics and Art Criticism 49 (1):95-96.
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  11.  88
    The Philosophy of Art History.Arnold Hauser - 1959 - Routledge.
    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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  12. Traditional Art History's Complaint Against the Linguistic Analysis of Visual Art.Donald Kuspit - 1987 - Journal of Aesthetics and Art Criticism 45 (4):345-349.
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  13.  34
    On Writing Art History in Australia.Bernard Smith - 2005 - Thesis Eleven 82 (1):5-15.
    In this article, presented as the Second Annual Thesis Eleven Centre Lecture in 2003, Bernard Smith discusses the practice of writing art history in, and about, Australia and Europe. Smith defends periodization, and argues for the necessity of henceforth viewing what is typically called modernism as what he calls the formalesque. Further discussion includes problems of classification, the role of theory, and the place of Aboriginal art in white art history. The article thus surveys the condition of art (...)
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  14.  4
    Art History, Aesthetics, Visual Studies.Michael Ann Holly & Keith P. F. Moxey (eds.) - 2002 - Sterling and Francine Clark Art Institute.
    Art history, aesthetics, and visual studies today find themselves in contested new philosophical and institutional circumstances. This fascinating and challenging volume explores the connections and differences among these three methods of investigating visual representation. What are the dominant aesthetic assumptions underlying art historical inquiry? How have these assumptions been challenged by visual studies? Are questions of quality, form, content, meaning, and spectatorship culturally specific? Can we still define the parameters of what should properly constitute the objects of the (...) of art? Fifteen distinguished scholars answer these and other questions, critically examining the relationships among these three scholarly fields from their founding moments through their contemporary practices. (shrink)
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  15.  11
    Feminist Art History and De Facto Significance.Susan Feagin - 2010 - In Peg Zeglin Brand & Carolyn Korsmeyer (eds.), Feminism and Tradition in Aesthetics. Penn State Press.
    In her excellent "Feminist Art History and De Facto Significance," for example, aesthetician Susan L. Feagin explains how her initial skepticism about Continental approaches-especially those drawing on Foucault, Marx, Levi-Strauss, Lacan, and "even Derrida and poststructuralist literary theory" - gave way to an appreciation of how these approaches encourage, in a way analytic aesthetics does not, "the trenchant analyses and acute observations that have emerged from feminist art historians" (305). And, indeed, although she goes on to suggest how traditional (...)
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  16.  8
    The Philosophy of Art History. By Richard Lichtman. [REVIEW]Arnold Hauser - 1959 - Ethics 70:333.
  17.  6
    Crying Hegel in Art History.Ian Verstegen - 2016 - Journal of Critical Realism 15 (2):107-121.
    Within cultural history there is a widespread eschewal of speculative reasoning. This article notes the complicity of the general postmodern avoidance of metanarratives with Anglo-Saxon empiricism and locates the major problem facing cultural history in postmodernism's conflation of trajectories and teleologies. Any discussion of the directionality of history is imputed to be a full-blown teleology. Using previous discussions from different fields, the difference between a teleology and trajectory is defended and, after clarifying certain confusions, it is argued (...)
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  18.  86
    The Primacy of Perception and Other Essays on Phenomenological Psychology, the Philosophy of Art, History and Politics.Maurice Merleau-Ponty - 1964 - Northwestern University Press.
    This book consists of Northwestern University Studies in Phenomenology and Existential Philosophy.
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  19.  32
    A Neglected Tradition? Art History as "Bildwissenschaft".Horst Bredekamp - 2003 - Critical Inquiry 29 (3):418.
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  20.  33
    On the Relationship of Art History and Art Theory: Towards the Possibility of a Fundamental System of Concepts for a Science of Art.Erwin Panofsky - 2008 - Critical Inquiry 35 (1):43-71.
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  21. Writing Art History: Disciplinary Departures.Margaret Iversen & Stephen Melville - 2010 - University of Chicago Press.
    Faced with an increasingly media-saturated, globalized culture, art historians have begun to ask themselves challenging and provocative questions about the nature of their discipline. Why did the history of art come into being? Is it now in danger of slipping into obsolescence? And, if so, should we care? In _Writing Art History_, Margaret Iversen and Stephen Melville address these questions by exploring some assumptions at the discipline’s foundation. Their project is to excavate the lost continuities between philosophical aesthetics, contemporary (...)
     
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  22. Style and Significance in Art History and Art Criticism.Jenefer M. Robinson - 1981 - Journal of Aesthetics and Art Criticism 40 (1):5-14.
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  23.  26
    The Question of Art History.Donald Preziosi - 1992 - 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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  24.  26
    Art History?Donald Brook - 2004 - History and Theory 43 (1):1–17.
    This article is presented in two parts. In part I, I call into question the viability of a currently received opinion about the foundations of the subject called “Art History,” primarily by challenging assumptions that are implicit in conventional uses of the terms “art” and “work of art.” It is widely supposed that works of art are items of a kind, that this kind is the bearer of the name “art,” and that it has a history. In part (...)
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  25. Art History and Visual Studies in Europe: Transnational Discourses and National Frameworks.Matthew Rampley, Thierry Lenain, Hubert Locher, Andrea Pinotti, Charlotte Schoell-Glass & C. J. M. Zijlmans (eds.) - 2012 - Brill.
    This book undertakes a critical survey of art history across Europe, examining the recent conceptual and methodological concerns informing the discipline as well as the political, social and ideological factors that have shaped its development in specific national contexts.
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  26.  17
    Art History Without Theory.James Elkins - 1988 - Critical Inquiry 14 (2):354-378.
    The theories I have outlined suggest that by displacing but not excluding theory, art historical practice at once grounds itself in empiricism and implies an acceptance of theory’s claim that it cannot be so grounded. But beyond descriptions like this, the theories are not a helpful way to understand practice because they cannot account for its persistence except by pointing to its transgressions and entanglements in self-contradiction. Nor does it help to say, pace Steven Knapp, Walter Benn Michaels, and Stanley (...)
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  27.  12
    Art History, Natural History and the Aesthetic Interpretation of Nature.David T. Schwartz - 2020 - Environmental Values 29 (5):537-556.
    This paper examines Allen Carlson's influential view that knowledge from natural science offers the best framework for aesthetically appreciating nature for what it is in itself. Carlson argues that knowledge from the natural sciences can play a role analogous to the role of art-historical knowledge in our experience of art by supplying categories for properly 'calibrating' one's sensory experience and rendering more informed aesthetic judgments. Yet, while art history indeed functions this way, Carlson's formulation leaves out a second role (...)
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  28.  1
    Picturing Art History in Eighteenth-Century Britain: Artists' Printed Portraits and Manuscript Biographies in Rylands English MS 60.Edward Wouk - 2019 - Bulletin of the John Rylands Library 95 (2):83-113.
    Rylands English MS 60, compiled for the Spencer family in the eighteenth century, contains 130 printed portraits of early modern artists gathered from diverse sources and mounted in two albums: 76 portraits in the first volume, which is devoted to northern European artists, and 54 in the second volume, containing Italian and French painters. Both albums of this ‘Collection of Engravings of Portraits of Painters’ were initially planned to include a written biography of each artist copied from the few sources (...)
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  29.  28
    Logic and Images in Art History.James Elkins - 1999 - Perspectives on Science 7 (2):151-180.
    : This essay is an attempt to see how some of Galison's ideas and analyses look from the vantage of art history. If there's to be dialogue between the history of science and the history of art, it will be necessary to find historically recognizable senses for words like "logic" and "homologous." I also propose how Galison's kinds of images might fit into larger classifications of images known to the history of art.
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  30. Hegel and Herder on Art, History, and Reason.Kristin Gjesdal - 2006 - Philosophy and Literature 30 (1):17-32.
  31.  18
    The Primacy of Perception: And Other Essays on Phenomenological Psychology, the Philosophy of Art, History and Politics.Signs.Charles Taylor, Maurice Merleau-Ponty, James M. Edie & Richard C. McCleary - 1967 - Philosophical Review 76 (1):113.
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  32.  21
    Using Art History and Philosophy to Compare a Traditional and a Contemporary Form of African Moral Thought.Parker English & Nancy Steele Hamme - 1996 - Journal of Social Philosophy 27 (2):204-233.
  33.  20
    Art History and the Immediate Visual Experience.James R. Johnson - 1961 - Journal of Aesthetics and Art Criticism 19 (4):401-406.
  34.  23
    Art History Versus Art Mythology.Deborah L. Smith-Shank - 1988 - Semiotics:487-492.
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  35.  11
    Introducing Art History: A Guide for Teachers.Jerry G. Smoke & Michael J. McCarthy - 1980 - Journal of Aesthetic Education 14 (4):111.
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  36. Art History and Quality in Art.Erika Langmuir - 1984
     
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  37. Art History or the History of Culture: A Contemporary German Problem.J. P. Hodin - 1954 - Journal of Aesthetics and Art Criticism 13 (4):469-477.
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  38.  3
    Art History and Education.Stephen Addiss & Mary Erickson - 1994 - Journal of Aesthetics and Art Criticism 52 (4):486-487.
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  39.  23
    Art History in the Mirror Stage: Interpreting Un Bar aux Folies Bergères.David Carrier - 1990 - History and Theory 29 (3):297-320.
    There are a variety of interpretations of Manet's Un Bar auxFolies Bergères, but there is no genuinely neutral standpoint from which to judge their seemingly opposed accounts. T. J. Clark's analysis involves placing the work in the context of critical commentary by the artist's contemporaries, and examining the exact place and role of the mirror. Just as Manet painted two versions of the picture, so Clark has published two analyses of it; and just as we can ask whether the artist (...)
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  40.  23
    Why Art History has a History.David Carrier - 1993 - Journal of Aesthetics and Art Criticism 51 (3):299-312.
  41. "Art History and Class Struggle": Nicos Hadjinicolaou. [REVIEW]Andrew Brighton - 1979 - British Journal of Aesthetics 19 (2):182.
     
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  42.  4
    Art History&Quest.Donald Brook - 2004 - History and Theory 43 (1):1-17.
  43.  1
    Rethinking Art History: Meditations on a Coy Science.Anita Silvers - 1991 - Journal of Aesthetics and Art Criticism 49 (1):95-95.
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  44. "Art History Today": L. D. Ettlinger. [REVIEW]Wladyslaw Tatarkiewicz - 1962 - British Journal of Aesthetics 2 (4):370.
     
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  45.  14
    Archaeologizing Art History: An Encounter with Foucault’s Philosophy of Art: A Genealogy of Modernity, Joseph Tanke.Chloë Taylor - 2012 - PhaenEx 7 (1):365-374.
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  46. Archaeologizing Art History[REVIEW]Chloe Taylor - 2012 - Phaenex 7 (1):365-374.
     
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  47.  7
    Art History: A Contextual Inquiry CourseArt History and Education.Danielle Rice, Virgina L. Fitzpatrick, Stephen Addiss & Mary Erickson - 1995 - Journal of Aesthetic Education 29 (2):114.
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  48.  34
    New Art History.Wayne Andersen - 2010 - Common Knowledge 16 (1):163-172.
  49. Art History in Perspective.Stephen Bann - 1989 - History of the Human Sciences 2 (1):1-18.
  50.  6
    Medieval Art History in Prison.Xavier Barral I. Altet & Ivan Foletti - 2017 - Convivium 4 (1):11-14.
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