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Author | : H. Wolfflin |
Publisher | : Peter Smith Pub Incorporated |
Total Pages | : |
Release | : 1979 |
Genre | : |
ISBN | : 9780844632056 |
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Seminal modern study explains ideas beyond superficial changes. Analyzes over 150 works by masters. 121 illustrations.
Author | : Heinrich Wölfflin |
Publisher | : Courier Corporation |
Total Pages | : 255 |
Release | : 2012-11-01 |
Genre | : Art |
ISBN | : 0486141764 |
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Originally published in Germany during the 1920s, this now-classic study surveys the works of 64 major artists in terms of style, quality, and mode of representation. A brilliant contribution to the methodology or art criticism, it features 120 black-and-white illustrations of works by Botticelli, Durer, Holbein, Rembrandt, Velasquez, Vermeer, and others.
Author | : Heinrich Wolfflin |
Publisher | : Getty Publications |
Total Pages | : 370 |
Release | : 2015-05-07 |
Genre | : Art |
ISBN | : 1606064525 |
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Principles of Art History by Heinrich Wölfflin (1864–1945), a revolutionary attempt to construct a science of art through the study of the development of style, has been a foundational work of formalist art history since it was first published in 1915. At once systematic and subjective, and remarkable for its compelling descriptions of works of art, Wölfflin’s text has endured as an accessible yet rigorous approach to the study of style. Although Wölfflin applied his analysis to objects of early modern European art, Principles of Art History has been a fixture in the theoretical and methodological debates of the discipline of art history and has found a global audience. With translations in twenty-four languages and many reprints, Wölfflin’s work may be the most widely read and translated book of art history ever. This new English translation, appearing one hundred years after the original publication, returns readers to Wölfflin’s 1915 text and images. It also includes the first English translations of the prefaces and afterword that Wölfflin himself added to later editions. Introductory essays provide a historical and critical framework, referencing debates engendered byPrinciples in the twentieth century for a renewed reading of the text in the twenty-first.
Author | : Heinrich Wölfflin |
Publisher | : |
Total Pages | : 0 |
Release | : 1956 |
Genre | : Art |
ISBN | : |
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Author | : |
Publisher | : |
Total Pages | : |
Release | : 1929 |
Genre | : Aesthetics |
ISBN | : |
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Author | : Evonne Levy |
Publisher | : Studies in the History of Art |
Total Pages | : 314 |
Release | : 2020 |
Genre | : Art |
ISBN | : 9780300250473 |
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Perspectives on a book that changed ways of thinking and writing about art around the world
Author | : Donald Preziosi |
Publisher | : Oxford History of Art (Paperba |
Total Pages | : 600 |
Release | : 2009 |
Genre | : Art |
ISBN | : 0199229848 |
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This anthology is a guide to understanding art history through critical reading of the field's most innovative and influential texts, focusing on the past two centuries.
Author | : Heinrich Wolfflin |
Publisher | : |
Total Pages | : 253 |
Release | : 1950 |
Genre | : |
ISBN | : |
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Author | : Sidney J. Blatt |
Publisher | : Routledge |
Total Pages | : 432 |
Release | : 2014-04-04 |
Genre | : Psychology |
ISBN | : 1317769015 |
Download Continuity and Change in Art Book in PDF, ePub and Kindle
The representation of the form of objects and of space in painting, from paleolithic through contemporary time, has become increasingly integrated, complex, and abstract. Based on a synthesis of concepts drawn from the theories of Piaget and Freud, this book demonstrates that modes of representation in art evolve in a natural developmental order and are expressions of the predominant mode of thought in their particular cultural epoch. They reflect important features of the social order and are expressed in other intellectual endeavors as well, especially in concepts of science. A fascinating evaluation of the development of cognitive processes and the formal properties of art, this work should appeal to professionals and graduate students in developmental, cognitive, aesthetic, personality, and clinical psychology; to psychoanalysts interested in developmental theory; and to anyone interested in cultural history -- especially the history of art and the history of science.
Author | : Eric Michaud |
Publisher | : MIT Press |
Total Pages | : 282 |
Release | : 2019-12-03 |
Genre | : Art |
ISBN | : 0262043157 |
Download The Barbarian Invasions Book in PDF, ePub and Kindle
How the history of art begins with the myth of the barbarian invasion—the romantic fragmentation of classical eternity. The history of art, argues Éric Michaud, begins with the romantic myth of the barbarian invasions. Viewed from the nineteenth century, the Germanic-led invasions of the Roman Empire in the fifth century became the gateway to modernity, seen not as a catastrophe but as a release from a period of stagnation, renewing Roman culture with fresh, northern blood—and with new art that was anti-Roman and anticlassical. Artifacts of art from then on would be considered as the natural product of “races” and “peoples” rather than the creation of individuals. The myth of the barbarian invasions achieved the fragmentation of classical eternity. This narrative, Michaud explains, inseparable from the formation of nation states and the rise of nationalism in Europe, was based on the dual premise of the homogeneity and continuity of peoples. Local and historical particularities became weapons aimed at classicism's universalism. The history of art linked its objects with racial groups—denouncing or praising certain qualities as “Latin” or “Germanic.” Thus the predominance of linear elements was thought to betray a southern origin, and the “painterly” a Germanic or northern source. Even today, Michaud points out, it is said that art best embodies the genius of peoples. In the globalized contemporary art market, the ethnic provenance of works—categorized, for example, as “African American,” “Latino,” or “Native American”—creates added value. The market displays the same competition among “races” that was present at the foundation of art history as a discipline.