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A history of art history
Author
Publisher
Princeton University Press
Publication Date
[2019]
Language
English
Description
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Table of Contents
From the Book
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.
From the Book
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.
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ISBN
9780691156521
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