Art History Is the Study of the History of the Visual Arts True False

Academic report of objects of art in their historical evolution

This article is about the academic discipline of art history. For an overview of the history of fine art worldwide, see History of art. For other uses, see Art history (disambiguation).

Art history is the study of aesthetic objects and visual expression in historical and stylistic context.^[1] Traditionally, the discipline of art history emphasized painting, cartoon, sculpture, architecture, ceramics and decorative arts, withal today, fine art history examines broader aspects of visual culture, including the various visual and conceptual outcomes related to an ever-evolving definition of art.^{[2] [3]} Art history encompasses the study of objects created by different cultures around the globe and throughout history that convey significant, importance or serve usefulness primarily through visual representations.

Every bit a subject field, fine art history is distinguished from art criticism, which is concerned with establishing a relative artistic value upon private works with respect to others of comparable style or sanctioning an entire fashion or movement; and art theory or "philosophy of art", which is concerned with the fundamental nature of art. One co-operative of this area of report is aesthetics, which includes investigating the enigma of the sublime and determining the essence of beauty. Technically, art history is non these things, considering the fine art historian uses historical method to reply the questions: How did the artist come to create the work?, Who were the patrons?, Who were their teachers?, Who was the audience?, Who were their disciples?, What historical forces shaped the creative person'southward oeuvre and how did he or she and the creation, in turn, impact the form of artistic, political and social events? It is, nevertheless, questionable whether many questions of this kind can be answered satisfactorily without too because basic questions most the nature of art. The current disciplinary gap between fine art history and the philosophy of art (aesthetics) often hinders this research.^[four]

Methodologies [edit]

Art history is an interdisciplinary do that analyzes the various factors—cultural, political, religious, economic or creative—which contribute to visual appearance of a piece of work of fine art.

Fine art historians employ a number of methods in their research into the ontology and history of objects.

Art historians often examine work in the context of its fourth dimension. At best, this is done in a way which respects its creator's motivations and imperatives; with consideration of the desires and prejudices of its patrons and sponsors; with a comparative analysis of themes and approaches of the creator's colleagues and teachers; and with consideration of iconography and symbolism. In short, this arroyo examines the work of art in the context of the world within which information technology was created.

Art historians also oftentimes examine work through an analysis of form; that is, the creator'southward use of line, shape, color, texture and composition. This arroyo examines how the artist uses a 2-dimensional movie aeroplane or the three dimensions of sculptural or architectural space to create their fine art. The style these private elements are employed results in representational or non-representational art. Is the artist imitating an object or can the paradigm be plant in nature? If then, it is representational. The closer the fine art hews to perfect imitation, the more than the art is realistic. Is the artist non imitating, only instead relying on symbolism or in an important way striving to capture nature's essence, rather than copy it directly? If so the art is non-representational—as well called abstract. Realism and abstraction exist on a continuum. Impressionism is an case of a representational mode that was not straight imitative, but strove to create an "impression" of nature. If the work is not representational and is an expression of the creative person's feelings, longings and aspirations or is a search for ideals of beauty and form, the work is non-representational or a work of expressionism.

An iconographical analysis is one which focuses on particular design elements of an object. Through a close reading of such elements, it is possible to trace their lineage, and with information technology depict conclusions regarding the origins and trajectory of these motifs. In turn, it is possible to make any number of observations regarding the social, cultural, economic and artful values of those responsible for producing the object.

Many art historians apply critical theory to frame their inquiries into objects. Theory is most oft used when dealing with more recent objects, those from the belatedly 19th century onward. Critical theory in art history is often borrowed from literary scholars and it involves the application of a non-artistic analytical framework to the study of art objects. Feminist, Marxist, critical race, queer and postcolonial theories are all well established in the subject. As in literary studies, there is an interest amongst scholars in nature and the surround, merely the direction that this will take in the discipline has even so to be determined.

Timeline of prominent methods [edit]

Pliny the Elder and ancient precedents [edit]

The earliest surviving writing on fine art that tin can be classified as fine art history are the passages in Pliny the Elderberry's Natural History (c. AD 77-79), apropos the evolution of Greek sculpture and painting.^[5] From them information technology is possible to trace the ideas of Xenokrates of Sicyon (c. 280 BC), a Greek sculptor who was maybe the first art historian.^[half-dozen] Pliny's work, while mainly an encyclopaedia of the sciences, has thus been influential from the Renaissance onwards. (Passages about techniques used by the painter Apelles c. (332-329 BC), have been peculiarly well-known.) Like, though independent, developments occurred in the sixth century China, where a canon of worthy artists was established past writers in the scholar-official class. These writers, being necessarily proficient in calligraphy, were artists themselves. The artists are described in the Half-dozen Principles of Painting formulated by Xie He.^[7]

Vasari and artists' biographies [edit]

While personal reminiscences of art and artists have long been written and read (see Lorenzo Ghiberti Commentarii, for the best early example),^[8] it was Giorgio Vasari, the Tuscan painter, sculptor and writer of the Lives of the Well-nigh First-class Painters, Sculptors, and Architects, who wrote the first truthful history of art.^[9] He emphasized fine art'south progression and evolution, which was a milestone in this field. His was a personal and a historical business relationship, featuring biographies of individual Italian artists, many of whom were his contemporaries and personal acquaintances. The most renowned of these was Michelangelo, and Vasari's account is enlightening, though biased^{[ citation needed ]} in places.

Vasari's ideas well-nigh art were enormously influential, and served every bit a model for many, including in the n of Europe Karel van Mander's Schilder-boeck and Joachim von Sandrart's Teutsche Akademie.^{[ citation needed ]} Vasari'due south arroyo held sway until the 18th century, when criticism was leveled at his biographical business relationship of history.^{[ citation needed ]}

Winckelmann and art criticism [edit]

Scholars such equally Johann Joachim Winckelmann (1717–1768), criticized Vasari'south "cult" of artistic personality, and they argued that the real accent in the study of art should exist the views of the learned beholder and not the unique viewpoint of the charismatic artist. Winckelmann'southward writings thus were the beginnings of art criticism. His 2 almost notable works that introduced the concept of art criticism were Gedanken über die Nachahmung der griechischen Werke in der Malerei und Bildhauerkunst, published in 1755, shortly before he left for Rome (Fuseli published an English language translation in 1765 nether the championship Reflections on the Painting and Sculpture of the Greeks), and Geschichte der Kunst des Altertums (History of Fine art in Antiquity), published in 1764 (this is the showtime occurrence of the phrase 'history of art' in the title of a volume)".^[10] Winckelmann critiqued the artistic excesses of Baroque and Rococo forms, and was instrumental in reforming taste in favor of the more than sober Neoclassicism. Jacob Burckhardt (1818–1897), one of the founders of fine art history, noted that Winckelmann was 'the outset to distinguish between the periods of ancient art and to link the history of fashion with world history'. From Winckelmann until the mid-20th century, the field of fine art history was dominated by German-speaking academics. Winckelmann's work thus marked the entry of art history into the high-philosophical discourse of German culture.

Winckelmann was read avidly by Johann Wolfgang Goethe and Friedrich Schiller, both of whom began to write on the history of art, and his account of the Laocoön group occasioned a response past Lessing. The emergence of art as a major subject of philosophical speculation was solidified past the appearance of Immanuel Kant's Critique of Judgment in 1790, and was furthered by Hegel's Lectures on Aesthetics. Hegel's philosophy served equally the straight inspiration for Karl Schnaase's piece of work. Schnaase'south Niederländische Briefe established the theoretical foundations for art history as an autonomous discipline, and his Geschichte der bildenden Künste, one of the offset historical surveys of the history of art from antiquity to the Renaissance, facilitated the didactics of art history in German-speaking universities. Schnaase'due south survey was published contemporaneously with a similar work past Franz Theodor Kugler.

Wölfflin and stylistic analysis [edit]

See: Formal analysis.

Heinrich Wölfflin (1864–1945), who studied under Burckhardt in Basel, is the "father" of modernistic art history. Wölfflin taught at the universities of Berlin, Basel, Munich, and Zurich. A number of students went on to distinguished careers in fine art history, including Jakob Rosenberg and Frida Schottmuller. He introduced a scientific approach to the history of art, focusing on three concepts. Firstly, he attempted to study art using psychology, particularly by applying the piece of work of Wilhelm Wundt. He argued, amid other things, that art and architecture are adept if they resemble the human body. For instance, houses were good if their façades looked like faces. Secondly, he introduced the idea of studying art through comparison. Past comparison individual paintings to each other, he was able to make distinctions of fashion. His book Renaissance and Baroque developed this thought, and was the offset to show how these stylistic periods differed from 1 another. In contrast to Giorgio Vasari, Wölfflin was uninterested in the biographies of artists. In fact he proposed the creation of an "art history without names." Finally, he studied art based on ideas of nationhood. He was especially interested in whether there was an inherently "Italian" and an inherently "High german" way. This terminal interest was near fully articulated in his monograph on the German creative person Albrecht Dürer.

Riegl, Wickhoff, and the Vienna School [edit]

Contemporaneous with Wölfflin'south career, a major school of art-historical idea developed at the University of Vienna. The commencement generation of the Vienna Schoolhouse was dominated past Alois Riegl and Franz Wickhoff, both students of Moritz Thausing, and was characterized past a tendency to reassess neglected or disparaged periods in the history of art. Riegl and Wickhoff both wrote extensively on the art of late antiquity, which earlier them had been considered equally a period of decline from the classical ideal. Riegl likewise contributed to the revaluation of the Baroque.

The next generation of professors at Vienna included Max Dvořák, Julius von Schlosser, Hans Tietze, Karl Maria Swoboda, and Josef Strzygowski. A number of the about important twentieth-century fine art historians, including Ernst Gombrich, received their degrees at Vienna at this time. The term "Second Vienna School" (or "New Vienna School") usually refers to the following generation of Viennese scholars, including Hans Sedlmayr, Otto Pächt, and Guido Kaschnitz von Weinberg. These scholars began in the 1930s to render to the work of the first generation, particularly to Riegl and his concept of Kunstwollen, and attempted to develop it into a full-blown art-historical methodology. Sedlmayr, in particular, rejected the minute study of iconography, patronage, and other approaches grounded in historical context, preferring instead to concentrate on the aesthetic qualities of a work of art. As a upshot, the Second Vienna Schoolhouse gained a reputation for unrestrained and irresponsible formalism, and was furthermore colored by Sedlmayr's overt racism and membership in the Nazi party. This latter tendency was, nonetheless, by no means shared by all members of the schoolhouse; Pächt, for example, was himself Jewish, and was forced to leave Vienna in the 1930s.

Panofsky and iconography [edit]

Our 21st-century understanding of the symbolic content of fine art comes from a group of scholars who gathered in Hamburg in the 1920s. The most prominent amid them were Erwin Panofsky, Aby Warburg, Fritz Saxl and Gertrud Bing. Together they developed much of the vocabulary that continues to be used in the 21st century by art historians. "Iconography"—with roots significant "symbols from writing" refers to bailiwick matter of art derived from written sources—especially scripture and mythology. "Iconology" is a broader term that referred to all symbolism, whether derived from a specific text or not. Today art historians sometimes utilise these terms interchangeably.

Panofsky, in his early work, also developed the theories of Riegl, but became somewhen more preoccupied with iconography, and in particular with the manual of themes related to classical antiquity in the Middle Ages and Renaissance. In this respect his interests coincided with those of Warburg, the son of a wealthy family who had assembled an impressive library in Hamburg devoted to the written report of the classical tradition in later art and culture. Nether Saxl's auspices, this library was adult into a research institute, affiliated with the University of Hamburg, where Panofsky taught.

Warburg died in 1929, and in the 1930s Saxl and Panofsky, both Jewish, were forced to get out Hamburg. Saxl settled in London, bringing Warburg's library with him and establishing the Warburg Institute. Panofsky settled in Princeton at the Institute for Avant-garde Study. In this respect they were part of an extraordinary influx of German art historians into the English language-speaking academy in the 1930s. These scholars were largely responsible for establishing fine art history as a legitimate bailiwick in the English-speaking world, and the influence of Panofsky's methodology, in particular, determined the grade of American art history for a generation.

Freud and psychoanalysis [edit]

Heinrich Wölfflin was non the merely scholar to invoke psychological theories in the report of fine art. Psychoanalyst Sigmund Freud wrote a book on the artist Leonardo da Vinci, in which he used Leonardo's paintings to interrogate the artist's psyche and sexual orientation. Freud inferred from his analysis that Leonardo was probably homosexual.

Though the use of posthumous material to perform psychoanalysis is controversial among art historians, especially since the sexual mores of Leonardo's time and Freud's are different, it is oft attempted. One of the best-known psychoanalytic scholars is Laurie Schneider Adams, who wrote a popular textbook, Art Across Fourth dimension, and a volume Fine art and Psychoanalysis.

An unsuspecting turn for the history of art criticism came in 1914 when Sigmund Freud published a psychoanalytical interpretation of Michelangelo's Moses titled Der Moses des Michelangelo every bit one of the first psychology based analyses on a work of art.^[xi] Freud start published this work shortly later on reading Vasari's Lives. For unknown purposes, Freud originally published the article anonymously.

Jung and archetypes [edit]

Carl Jung also applied psychoanalytic theory to fine art. C.G. Jung was a Swiss psychiatrist, an influential thinker, and founder of belittling psychology. Jung's approach to psychology emphasized understanding the psyche through exploring the worlds of dreams, fine art, mythology, world religion and philosophy. Much of his life's work was spent exploring Eastern and Western philosophy, abracadabra, astrology, folklore, every bit well equally literature and the arts. His most notable contributions include his concept of the psychological classic, the commonage unconscious, and his theory of synchronicity. Jung believed that many experiences perceived as coincidence were not merely due to chance but, instead, suggested the manifestation of parallel events or circumstances reflecting this governing dynamic.^[12] He argued that a collective unconscious and archetypal imagery were detectable in art. His ideas were specially popular amidst American Abstract expressionists in the 1940s and 1950s.^[xiii] His work inspired the surrealist concept of drawing imagery from dreams and the unconscious.

Jung emphasized the importance of balance and harmony. He cautioned that modern humans rely too heavily on science and logic and would benefit from integrating spirituality and appreciation of the unconscious realm. His work not only triggered analytical piece of work by art historians, just it became an integral part of art-making. Jackson Pollock, for example, famously created a serial of drawings to accompany his psychoanalytic sessions with his Jungian psychoanalyst, Dr. Joseph Henderson. Henderson who afterward published the drawings in a text devoted to Pollock'south sessions realized how powerful the drawings were as a therapeutic tool.^[xiv]

The legacy of psychoanalysis in art history has been profound, and extends beyond Freud and Jung. The prominent feminist art historian Griselda Pollock, for example, draws upon psychoanalysis both in her reading into gimmicky art and in her rereading of modernist art. With Griselda Pollock's reading of French feminist psychoanalysis and in particular the writings of Julia Kristeva and Bracha L. Ettinger, equally with Rosalind Krauss readings of Jacques Lacan and Jean-François Lyotard and Catherine de Zegher'due south curatorial rereading of art, Feminist theory written in the fields of French feminism and Psychoanalysis has strongly informed the reframing of both men and women artists in art history.

Marx and ideology [edit]

During the mid-20th century, fine art historians embraced social history by using critical approaches. The goal was to show how art interacts with power structures in society. One disquisitional approach that art historians^{[ who? ]} used was Marxism. Marxist art history attempted to show how art was tied to specific classes, how images contain information about the economic system, and how images tin can make the status quo seem natural (credo).^{[ citation needed ]}

Marcel Duchamp and Dada Move jump started the Anti-art style. Various artist did not want to create artwork that everyone was conforming to at the time. These 2 movements helped other creative person to create pieces that were not viewed every bit traditional art. Some examples of styles that branched off the anti-art motion would be Neo-Dadaism, Surrealism, and Constructivism. These styles and artist did not want to surrender to traditional means of art. This fashion of thinking provoked political movements such as the Russian Revolution and the communist ideals.^[15]

Artist Isaak Brodsky piece of work of fine art 'Shock-worker from Dneprstroi' in 1932 shows his political interest within art. This piece of art can be analysed to show the internal troubles Soviet Russian federation was experiencing at the time. Perhaps the best-known Marxist was Clement Greenberg, who came to prominence during the late 1930s with his essay "Avant-Garde and Kitsch".^[xvi] In the essay Greenberg claimed that the advanced arose in order to defend aesthetic standards from the decline of taste involved in consumer society, and seeing kitsch and fine art as opposites. Greenberg farther claimed that avant-garde and Modernist art was a ways to resist the leveling of culture produced by capitalist propaganda. Greenberg appropriated the German discussion 'kitsch' to describe this consumerism, although its connotations accept since changed to a more affirmative notion of leftover materials of capitalist culture. Greenberg later^{[ when? ]} became well known for examining the formal properties of mod art.^{[ citation needed ]}

Meyer Schapiro is one of the best-remembered Marxist art historians of the mid-20th century. Although he wrote near numerous fourth dimension periods and themes in art, he is all-time remembered for his commentary on sculpture from the belatedly Middle Ages and early Renaissance, at which time he saw testify of commercialism emerging and feudalism failing.^{[ citation needed ]}

Arnold Hauser wrote the commencement Marxist survey of Western Fine art, entitled The Social History of Fine art. He attempted to evidence how class consciousness was reflected in major art periods. The book was controversial when published during the 1950s since information technology makes generalizations about unabridged eras, a strategy now called "vulgar Marxism".^{[ citation needed ]}

Marxist Fine art History was refined in the department of Art History at UCLA with scholars such as T.J. Clark, O.K. Werckmeister, David Kunzle, Theodor W. Adorno, and Max Horkheimer. T.J. Clark was the first art historian writing from a Marxist perspective to carelessness vulgar Marxism. He wrote Marxist art histories of several impressionist and realist artists, including Gustave Courbet and Édouard Manet. These books focused closely on the political and economical climates in which the art was created.^[17]

Feminist art history [edit]

Linda Nochlin's essay "Why Have There Been No Bully Women Artists?" helped to ignite feminist fine art history during the 1970s and remains one of the almost widely read essays about female artists. This was then followed past a 1972 College Fine art Association Console, chaired by Nochlin, entitled "Eroticism and the Image of Woman in Nineteenth-Century Art". Within a decade, scores of papers, articles, and essays sustained a growing momentum, fueled by the Second-wave feminist movement, of critical discourse surrounding women's interactions with the arts as both artists and subjects. In her pioneering essay, Nochlin applies a feminist critical framework to testify systematic exclusion of women from art training, arguing that exclusion from practicing art too as the canonical history of fine art was the consequence of cultural conditions which curtailed and restricted women from art producing fields.^[18] The few who did succeed were treated every bit anomalies and did not provide a model for subsequent success. Griselda Pollock is some other prominent feminist fine art historian, whose utilise of psychoanalytic theory is described in a higher place.

While feminist art history can focus on whatever time menses and location, much attention has been given to the Modern era. Some of this scholarship centers on the feminist art movement, which referred specifically to the experience of women. Often, feminist fine art history offers a critical "re-reading" of the Western art catechism, such as Carol Duncan'due south re-interpretation of Les Demoiselles d'Avignon. Ii pioneers of the field are Mary Garrard and Norma Broude. Their anthologies Feminism and Art History: Questioning the Litany, The Expanding Discourse: Feminism and Fine art History, and Reclaiming Feminist Agency: Feminist Art History Later Postmodernism are substantial efforts to bring feminist perspectives into the discourse of art history. The pair too co-founded the Feminist Art History Briefing.^[xix]

Barthes and semiotics [edit]

Equally opposed to iconography which seeks to place significant, semiotics is concerned with how meaning is created. Roland Barthes's connoted and denoted meanings are paramount to this examination. In whatsoever particular piece of work of art, an interpretation depends on the identification of denoted significant^[20]—the recognition of a visual sign, and the connoted meaning^[21]—the instant cultural associations that come with recognition. The main concern of the semiotic art historian is to come upward with ways to navigate and interpret connoted significant.^[22]

Semiotic fine art history seeks to uncover the codified meaning or meanings in an aesthetic object past examining its connectedness to a collective consciousness.^[23] Art historians practice non ordinarily commit to any i particular brand of semiotics but rather construct an amalgamated version which they incorporate into their collection of analytical tools. For example, Meyer Schapiro borrowed Saussure's differential pregnant in effort to read signs as they exist inside a system.^[24] According to Schapiro, to understand the meaning of frontality in a specific pictorial context, it must be differentiated from, or viewed in relation to, alternating possibilities such as a profile, or a three-quarter view. Schapiro combined this method with the work of Charles Sanders Peirce whose object, sign, and interpretant provided a structure for his approach. Alex Potts demonstrates the application of Peirce'south concepts to visual representation by examining them in relation to the Mona Lisa. By seeing the Mona Lisa, for example, every bit something beyond its materiality is to identify information technology as a sign. It is and then recognized every bit referring to an object outside of itself, a adult female, or Mona Lisa. The image does not seem to denote religious meaning and can therefore exist assumed to exist a portrait. This estimation leads to a chain of possible interpretations: who was the sitter in relation to Leonardo da Vinci? What significance did she have to him? Or, maybe she is an icon for all of womankind. This chain of interpretation, or "unlimited semiosis" is endless; the art historian's chore is to place boundaries on possible interpretations as much equally information technology is to reveal new possibilities.^[25]

Semiotics operates nether the theory that an image can only be understood from the viewer's perspective. The artist is supplanted by the viewer as the purveyor of meaning, fifty-fifty to the extent that an estimation is still valid regardless of whether the creator had intended it.^[25] Rosalind Krauss consort this concept in her essay "In the Name of Picasso." She denounced the creative person'south monopoly on meaning and insisted that pregnant can only be derived after the work has been removed from its historical and social context. Mieke Bal argued similarly that significant does not fifty-fifty exist until the image is observed by the viewer. It is merely after acknowledging this that meaning tin go opened up to other possibilities such every bit feminism or psychoanalysis.^[26]

Museum studies and collecting [edit]

Aspects of the subject which have come to the fore in contempo decades include involvement in the patronage and consumption of art, including the economics of the art market, the function of collectors, the intentions and aspirations of those commissioning works, and the reactions of contemporary and later on viewers and owners. Museum studies, including the history of museum collecting and display, is now a specialized subject area, equally is the history of collecting.

New materialism [edit]

Scientific advances have fabricated possible much more accurate investigation of the materials and techniques used to create works, especially infra-carmine and x-ray photographic techniques which take allowed many underdrawings of paintings to exist seen again. Proper analysis of pigments used in paint is now possible, which has upset many attributions. Tree-ring dating for panel paintings and radio-carbon dating for old objects in organic materials have allowed scientific methods of dating objects to confirm or upset dates derived from stylistic analysis or documentary evidence. The development of good colour photography, now held digitally and available on the internet or by other means, has transformed the study of many types of art, especially those covering objects existing in large numbers which are widely dispersed among collections, such as illuminated manuscripts and Persian miniatures, and many types of archaeological artworks.

Concurrent to those technological advances, art historians have shown increasing involvement in new theoretical approaches to the nature of artworks as objects. Matter theory, histrion–network theory, and object-oriented ontology have played an increasing office in art historical literature.

Nationalist art history [edit]

The making of art, the bookish history of art, and the history of fine art museums are closely intertwined with the rising of nationalism. Art created in the modernistic era, in fact, has often been an endeavour to generate feelings of national superiority or love of one's country. Russian fine art is an especially good example of this, every bit the Russian avant-garde and afterwards Soviet art were attempts to define that country's identity.

Most fine art historians working today identify their specialty as the art of a particular culture and time period, and often such cultures are also nations. For example, someone might specialize in the 19th-century German or contemporary Chinese art history. A focus on nationhood has deep roots in the discipline. Indeed, Vasari'due south Lives of the Most Excellent Painters, Sculptors, and Architects is an attempt to show the superiority of Florentine artistic civilisation, and Heinrich Wölfflin's writings (especially his monograph on Albrecht Dürer) effort to distinguish Italian from German styles of art.

Many of the largest and most well-funded art museums of the world, such as the Louvre, the Victoria and Albert Museum, and the National Gallery of Fine art in Washington are state-endemic. Most countries, indeed, have a national gallery, with an explicit mission of preserving the cultural patrimony owned past the authorities—regardless of what cultures created the art—and an oft implicit mission to bolster that country's own cultural heritage. The National Gallery of Fine art thus showcases art made in the United States, but as well owns objects from across the world.

Divisions by menstruum [edit]

The subject area of art history is traditionally divided into specializations or concentrations based on eras and regions, with further sub-division based on media. Thus, someone might specialize in "19th-century German language architecture" or in "16th-century Tuscan sculpture." Sub-fields are often included nether a specialization. For example, the Ancient Near East, Greece, Rome, and Arab republic of egypt are all typically considered special concentrations of Ancient art. In some cases, these specializations may be closely allied (every bit Hellenic republic and Rome, for instance), while in others such alliances are far less natural (Indian art versus Korean art, for case).

Non-Western or global perspectives on art take become increasingly predominant in the art historical canon since the 1980s.

"Gimmicky fine art history" refers to research into the period from the 1960s until today reflecting the break from the assumptions of modernism brought past artists of the neo-advanced^[27] and a continuity in contemporary art in terms of practice based on conceptualist and post-conceptualist practices.

Professional organizations [edit]

In the Us, the virtually important art history organization is the Higher Art Association.^[28] It organizes an almanac briefing and publishes the Fine art Bulletin and Art Journal. Similar organizations exist in other parts of the world, equally well equally for specializations, such as architectural history and Renaissance fine art history. In the UK, for example, the Association of Art Historians is the premiere system, and it publishes a periodical titled Art History.^[29]

See as well [edit]

• Aesthetics
• Art criticism
• Bildwissenschaft
• Fine Arts
• History of fine art
• Rock fine art studies
• Visual arts and Theosophy
• Women in the fine art history field

Notes and references [edit]

1. ^ "Art History ^{[ permanent dead link ]} ". WordNet Search - 3.0, princeton.edu
2. ^ "What is art history and where is it going? (article)". Khan University . Retrieved 2020-04-xix .
3. ^ "What is the History of Art? | History Today". www.historytoday.com . Retrieved 2017-06-23 .
4. ^ Cf: 'Fine art History versus Aesthetics', ed. James Elkins (New York: Routledge, 2006).
5. ^ Outset English Translation retrieved January 25, 2010
6. ^ Dictionary of Fine art Historians Retrieved January 25, 2010
7. ^ The shorter Columbia anthology of traditional Chinese literature, By Victor H. Mair, p.51 retrieved January 25, 2010
8. ^ Artnet artist biographies retrieved Jan 25, 2010
9. ^ website created by Adrienne DeAngelis, currently incomplete, intended to be unabridged, in English. Archived 2010-12-05 at the Wayback Machine retrieved January 25, 2010
10. ^ Chilvers, Ian (2005). The Oxford dictionary of art (3rd ed.). [Oxford]: Oxford University Press. ISBN0198604769.
11. ^ Sigmund Freud. The Moses of Michelangelo The Standard Edition of the Consummate Psychological Works of Sigmund Freud. Translated from the German under the general editorship of James Strachey in collaboration with Anna Freud, assisted by Alix Strachey and Alan Tyson. Book XIII (1913-1914): Totem And Taboo and other Works. London. The Hogarth Press and The Plant Of Psycho-Analysis. 1st Edition, 1955.
12. ^ In Synchronicity in the final two pages of the Conclusion, Jung stated that non all coincidences are meaningful and further explained the creative causes of this phenomenon.
13. ^ Jung defined the commonage unconscious as akin to instincts in Archetypes and the Collective Unconscious.
14. ^ Jackson Pollock An American Saga, Steven Naismith and Gregory White Smith, Clarkson N. Potter publ. copyright 1989,Archetypes and Alchemy pp. 327-338. ISBN 0-517-56084-4
15. ^ Gayford, Martin (18 February 2017). "Exhibitions: Revolution - Russian Art 1917-1932". The Spectator. Retrieved 29 October 2018.
16. ^ Clement Greenberg, Fine art and Civilization, Buoy Press, 1961
17. ^ Clark, "Preliminaries to a Possible Reading of Manet'southward Olympia," Screen 21.1 (1980): 18-42.
18. ^ Nochlin, Linda (January 1971). "Why Take There Been No Great Women Artists?". ARTnews.
19. ^ wpengine (2019-09-02). "Feminist Art History Conference 2020 at American University". Art Herstory . Retrieved 2021-02-18 .
20. ^ "Definition of denote | Dictionary.com". www.lexicon.com . Retrieved 2021-02-18 .
21. ^ "Definition of connote | Dictionary.com". www.lexicon.com . Retrieved 2021-02-18 .
22. ^ All ideas in this paragraph reference A. Potts, 'Sign', in R.S. Nelson and R. Shiff, Critical Terms for Art History second edn (Chicago 2003) pp. 31."
23. ^ "S. Bann, 'Meaning/Interpretation', in R.S. Nelson and R. Shiff, Disquisitional Terms for Fine art History second edn (Chicago 2003) pp. 128."
24. ^ "Chiliad. Hatt and C. Klonk, Art History: A Critical Introduction to its Methods (Manchester 2006) pp. 213."
25. ^ ^{a b} "A. Potts, 'Sign', in R.South. Nelson and R. Shiff, Disquisitional Terms for Art History 2nd edn (Chicago 2003) pp. 24."
26. ^ "M. Hatt and C. Klonk, Art History: A Critical Introduction to its Methods (Manchester 2006) pp. 205-208."
27. ^ "Neo avant-garde - The Art and Popular Civilization Encyclopedia". world wide web.artandpopularculture.com . Retrieved 2021-02-18 .
28. ^ College Art Association
29. ^ Clan of Art Historians Webpage

Farther reading [edit]

Listed by engagement

• Wölfflin, H. (1915, trans. 1932). Principles of art history; the problem of the evolution of style in later on art. [New York]: Dover Publications.
• Hauser, A. (1959). The philosophy of art history. New York: Knopf.
• Arntzen, E., & Rainwater, R. (1980). Guide to the literature of art history. Chicago: American Library Association.
• Holly, M. A. (1984). Panofsky and the foundations of art history. Ithaca, Northward.Y.: Cornell University Printing.
• Johnson, Due west. M. (1988). Art history: its use and abuse. Toronto: University of Toronto Printing.
• Carrier, D. (1991). Principles of art history writing. Academy Park, Pa: Pennsylvania State University Press.
• Kemal, Salim, and Ivan Gaskell (1991). The Language of Art History. Cambridge University Printing. ISBN 0-521-44598-i
• Fitzpatrick, V. L. N. 5. D. (1992). Art history: a contextual inquiry course. Point of view series. Reston, VA: National Art Didactics Clan.
• Minor, Vernon Hyde. (1994). Critical Theory of Art History. Englewood Cliffs, NJ: Prentice Hall.
• Nelson, R. S., & Shiff, R. (1996). Critical terms for art history. Chicago: University of Chicago Press.
• Adams, Fifty. (1996). The methodologies of art: an introduction. New York, NY: IconEditions.
• Frazier, North. (1999). The Penguin concise dictionary of art history. New York: Penguin Reference.
• Pollock, Thousand., (1999). Differencing the Canon. Routledge. ISBN 0-415-06700-6
• Harrison, Charles, Paul Forest, and Jason Gaiger. (2000). Art in Theory 1648-1815: An Anthology of Irresolute Ideas. Malden, MA: Blackwell.
• Minor, Vernon Hyde. (2001). Art history'due south history. 2nd ed. Upper Saddle River, NJ: Prentice Hall.
• Robinson, Hilary. (2001). Feminism-Art-Theory: An Album, 1968–2000. Malden, MA: Blackwell.
• Clark, T.J. (2001). Farewell to an Thought: Episodes from a History of Modernism. New Oasis: Yale University Press.
• Buchloh, Benjamin. (2001). Neo-Avantgarde and Culture Industry. Cambridge, MA: MIT Printing.
• Mansfield, Elizabeth (2002). Art History and Its Institutions: Foundations of a Discipline. Routledge. ISBN 0-415-22868-9
• Murray, Chris. (2003). Key Writers on Art. 2 vols, Routledge Key Guides. London: Routledge.
• Harrison, Charles, and Paul Wood. (2003). Art in Theory, 1900–2000: An Album of Changing Ideas. 2nd ed. Malden, MA: Blackwell.
• Shiner, Larry. (2003). The Invention of Art: A Cultural History. Chicago: University of Chicago Press. ISBN 978-0-226-75342-3
• Pollock, Griselda (ed.) (2006). Psychoanalysis and the Image. Oxford: Blackwell. ISBN 1-4051-3461-5
• Emison, Patricia (2008). The Shaping of Art History. Academy Park: The Pennsylvania State University Press. ISBN 978-0-271-03306-eight
• Charlene Spretnak (2014), The Spiritual Dynamic in Modern Art : Art History Reconsidered, 1800 to the Present.
• Gauvin Alexander Bailey (2014) The Spiritual Rococo: Décor and Divinity from the Salons of Paris to the Missions of Patagonia. Farnham: Ashgate.

External links [edit]

Look up art history in Wiktionary, the free dictionary.

• Media related to Art history at Wikimedia Eatables

• Art History Resources on the Spider web in-depth directory of web links, divided past period
• Dictionary of Art Historians, a database of notable art historians maintained by Duke University
• Rhode Isle College LibGuide - Fine art and Art History Resources

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Source: https://en.wikipedia.org/wiki/Art_history

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