Main entry:
Wood, Christopher S., author.
Title & Author:
A history of art history / Christopher S. Wood.
Publication:
Princeton : Princeton University Press, [2019]
©2019
Description:
461 pages : illustrations ; 25 cm
Notes:
Includes bibliographical references (pages 409-443) and index.
800-1400 p. 47 -- Cleric Adam von Bremen on the images of the Norse gods -- St. Francis of Assisi as restorer of churches -- Excavation of Etruscan vases in Arezzo -- Historiographies of art in China -- 1400-1500 p. 57 -- A Byzantine icon in Nuremberg -- Ancient spolia in Rome -- Chronicles of Florentine art history: Filippo Villani, Cennino Cennini, and Lorenzo Ghiberti -- Pliny in the background -- 1500-1550 p. 69 -- Martin Luther on progress in the arts -- Solicitous treatment of old pictures in Italy -- Barriers to Christian evaluation of non-Christian art: Ludovico de Varthema in India -- Mexican art admired by Albrecht Dürer and Bartolomé de las Casas -- Philological relativism: Ciceronians and anti-Ciceronians -- Doubts about progress -- Dürer as art tourist -- Marc-antonio Michiel's discriminations -- Giorgio Vasari, Lives of the Artists -- Album preface of Dust Muhammad -- 1550-1600 p. 87 -- Vasari, the second edition -- His Sow opinion of medieval art, shared by his contemporaries -- Reformation and Counter-reformation -- Mixed reactions to the rediscovery of early Christian art -- European travelers' descriptions of South Asian monuments -- Netherlandish artists' perspective on their own past -- 1600-1650 p. 106 -- Karel van Mander, Book of Painters -- Italian critics of Vasari -- Historical art in the British royal collection -- Antiquarians and iconographers in England and Italy -- Architectural history still typological -- Participatory connoisseurship of Dong Qichang -- Franciscus Junius's history of ancient painting -- Francis Bacon against both art and history -- 1650-1700 p. 127 -- Art history according to the French and Roman academies -- International art market -- Creative antiquarianism -- Kunst- und Wunderkammer -- European misunderstandings of African cult practices -- Italian revisions of Vasari -- Joachim von Sandrart's history of German art -- Art history in the Qing period and the art theory of Shitao -- 1700-1750 p. 141 -- Bernard de Montfaucon's publication of the medieval French monuments -- Local patriotism among Italian antiquarians -- Northern European cultivation of the Gothic style -- Roger de Piles, Jean-Baptiste Dubos, and the subjectivization of aesthetic value -- Connoisseurship of drawings: Pierre-Jean Mariette -- 1750-1770 p. 153 -- Four approaches to art and history: Johann Joachim Winckelmann, Denis Diderot, Horace Walpole, and Giovanni Battista Piranesi -- 1770-1790 p. 167 -- J. W. Goethe on Strasbourg cathedral -- Other partisans of medieval form -- Some early formulations of aesthetic relativism -- 1790-1810 p. 176 -- History of art on display in the Revolutionary Louvre -- Friedrich Schlegel at the Louvre -- Copying and collecting of medieval art in Rome and Paris -- W. H. Wackenroder's and Ludwig Tieck's fantasies of late medieval art -- Contextualism of J.G. Herder -- Early studies of South Asian art -- Goethe and the reassertion of idealism -- 1810-1830 p. 196 -- Romantic flight from history: Philipp Otto Runge -- Romantic re-enactment of history: the Nazarenes -- Romantic scholarship: the monographic or "life and works" model -- History of art according to William Blake -- Goethe's studies of late medieval northern art -- 1830-1850 p. 215 -- G.W.F. Hegel: a theory of art supported by a history of art -- Art history in the German universities -- Social mnemonics of restoration and festive re-enactment -- Archeological research -- New public museums -- Implications of prosaic or realist art for art historical thought -- 1850-1870 p. 232 -- Leopold von Ranke and historicism: "each epoch is immediate to God" -- Expansion of the architect's menu of forms -- Travelers' guidebooks -- Conservation and restoration -- Modernity re-routed through the past: John Ruskin, Gottfried Semper, Eugène Viollet-le-Duc -- Jacob Burckhardt and the idea of the Renaissance -- Art criticism in France -- 1870-1890 p. 252 -- Professionalization of university-based art history -- Bourgeois fantasies of the art historical past, especially in Vienna -- Friedrich Nietzsche on the predicament of the modern historian -- Resistance to historicism from beyond the university: Eugène Fromentin, Giovanni Morelli, Walter Pater -- Non-reception of Altamira -- 1890-1900 p. 267 -- Alois Riegl and the independent life of form -- Ennobling theories of form of Konrad Fiedler and Adolf von Hildebrand -- Absolute aestheticism: Oscar Wilde -- Poetic art history: Bernard Berenson and Vernon Lee -- 1900-1910 p. 282 -- Varieties of well-informed tourism -- The "culture of the Renaissance," continued: Aby Warburg -- His theory of the image -- Riegl's inversion of European art history -- Wilhelm Worringer's sympathy for the barbarians -- 1910-1920 p. 302 -- Avant-garde and art history: Blue Rider and Dada -- Heinrich Wölfflin, the story of harmony and dissonance -- 1920-1930 p. 318 -- Discipline reflects on its own history: Wilhelm Waetzoldt, Julius von Schlosser, Erwin Panofsky -- A theory of art liberated from history: Carl Einstein -- 1930-1940 p. 329 -- Art history and Fascism -- German and Austrian art historians in the U.S. -- Walter Benjamin and Martin Heidegger: art and origin -- Life of forms, extended: Henri Focillon -- Connoisseurial art history -- 1940-1950 p. 347 -- Stella Kramrisch on Hindu architecture and time -- Architectural histories, real and unreal: Rudolf Wittkower, Sigfried Giedion, Hans Sedl-mayr -- Rendezvous with paleolithic painting -- Marxist art histories in the U.K. and the U.S. -- 1950-1960 p. 361 -- Pax aesthetics: post-war reconciliation between art and modernity, bro-kered by form -- Therapeutic medievalisms -- German melancholia -- Hope in abstraction: Meyer Schapiro -- Panofsky in search of equilibrium -- College survey course -- Conclusions: Novissima p. 378 -- Fault-line in the discipline: contemporary art and everything else -- Realization of the modernist breach with the past -- Consequences of art's disengagement from the drama of form -- Content and truth-telling over form and fiction -- Against the relativist plurality of values -- Realist or technological approach to representation: Ernst Gombrich -- Morphologies of non-art: George Kubler -- Gombrich and Kubler's realist mistrust of art -- Iconoclasm of John Berger -- Art history and its readership -- "Irrealist" thought, acquainted with art -- Our presentisms.
Summary:
"In this wide-ranging and authoritative book, the first of its kind in English, Christopher S. 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. Synthesising 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"-- Provided by publisher.
"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
ISBN:
9780691156521 (hbk. ; acid-free paper)
0691156522 (hbk. ; acid-free paper)
9780691204765 (paperback)
0691204764 (paperback)
Subject:
Art Historiography.
Art History.
Art Historiographie.
Art Histoire.
art history.
Art.
800-1975
Holdings:
Location: Library main 306596
Call No.: BIB 252148
Status: Available
