This text is both a philosophical inquiry into the nature of depiction and a critical study of particular artists - Donatello, Rembrandt, Chardin and Hogarth. Michael Podro examines how the materials and procedure of the painter or sculptor are absorbed into imagining the subject. This interplay between medium and subject is crucial for the work's expressiveness and to the viewer's involvement. Abstract art in the early 20th century, Podro argues, has a closely related structure. The notion of the surface plane is explored by examining Donatello's relief sculpture and the viewer's orientation by reference to Rembrandt. He explains that Rembrandt's way of disallowing a dominant plane provides multiple orientations - different paths of access - to the subject, including different ways in which the viewer interacts with depicted figures. He then shows how, in the case of portrayal, the role of sitter, artist and viewer interconnect and, in the case of the self-portrait, converge.
Reviews the work of nineteenth-century German art critics and connects their writings with the basic philosophical problems of aesthetics considered by Kant, Schiller, and Hegel
Reviews the work of nineteenth-century German art critics and connects their writings with the basic philosophical problems of aesthetics considered by Kant, Schiller, and Hegel
This text is both a philosophical inquiry into the nature of depiction and a critical study of particular artists - Donatello, Rembrandt, Chardin and Hogarth. Michael Podro examines how the materials and procedure of the painter or sculptor are absorbed into imagining the subject. This interplay between medium and subject is crucial for the work's expressiveness and to the viewer's involvement. Abstract art in the early 20th century, Podro argues, has a closely related structure. The notion of the surface plane is explored by examining Donatello's relief sculpture and the viewer's orientation by reference to Rembrandt. He explains that Rembrandt's way of disallowing a dominant plane provides multiple orientations - different paths of access - to the subject, including different ways in which the viewer interacts with depicted figures. He then shows how, in the case of portrayal, the role of sitter, artist and viewer interconnect and, in the case of the self-portrait, converge.
Michael Benton's book develops the concept of spectatorship as an answer to these questions. It explores the similarities and differences in our experiences of literature and the visual arts, and discusses their implications for pedagogy and their applications in cross-curricular work in the classroom. Teachers will find that, while many of the visual and verbal texts may be familiar, the approaches to them offer fresh insights and a rich agenda for the classroom. Shakespeare, Fielding, Hogarth, Blake, Wordsworth, Constable, Turner, the Pre-Raphaelites, Wilfred Owen, Paul Nash, Stanley Spencer, Ted Hughes and Seamus Heaney - the range of authors and artists discussed is both extensive and relevant to the National Curriculum and to post-16 and undergraduate courses.
No one has been more influential in the contemporary practice of art history than Erwin Panofsky, yet many of his early seminal papers remain virtually unknown to art historians. As a result, Michael Ann Holly maintains, art historians today do not have access to the full range of methodological considerations and possibilities that Panofsky's thought offers, and they often remain unaware of the significant role art history played in the development of modern humanistic thought. Placing Panofsky's theoretical work first in the context of the major historical paradigms generated by Hegel, Burckhardt, and Dilthey, Holly shows how these paradigms themselves became the grounds for creative controversy among Panofsky's predecessors--Riegl, Wölfflin, Warburg, and Dvorák, among others. She also discusses how Panofsky's struggle with the terms and concepts of neo-Kantianism produced in his work remarkable parallels with the philosophy of Ernst Cassirer. Finally, she evaluates Panofsky's better known and later "iconological" studies by reading them against the earlier essays and by comparing his earlier ideas with the vision that has inspired recent work in the philosophy of history, semiotics, and the philosophy of science.
Michael P. Berman’s Merleau-Ponty and God: Hallowing the Hollow examines issues in the philosophy of religion through the phenomenological and existential writings of the French philosopher Maurice Merleau-Ponty (1908–1961). Merleau-Ponty addressed issues like the nature of faith, the problem of evil, and the love and judgment of God. Throughout the book Berman explains and critically interrogates the religious perspectives articulated in Merleau-Ponty’s thought. Merleau-Ponty challenges us to think through these issues but always with an eye to our embodiment and perceptual experience. In this vein, Merleau-Ponty and God fleshes out the French philosopher’s treatment of God in his writings. Merleau-Ponty and God will appeal to those interested in the philosophy of religion (inside and outside the academy), as well as scholars and students of Merleau-Ponty, continental philosophy, phenomenology, or existentialism.
In this book, Michael Krausz addresses the concept of interpretation in the visual arts, the emotions, and the self. He examines competing ideals of interpretation, their ontological entanglements, reference frames, and the relation between elucidation and self-transformation.The series Interpretation and Translation explores philosophical issues of interpretation and its cultural objects. It also addresses commensuration and understanding among languages, conceptual schemes, symbol systems, reference frames, and the like. The series publishes theoretical works drawn from philosophy, rhetoric, linguistics, anthropology, religious studies, art history, and musicology.
Expands our understanding of Alois Riegl beyond his role as an art historian to a pivotal figure in cultural theory at large, while placing his interest in history and time within the intellectual world of fin-de-siècle Vienna. Alois Riegl’s art history has influenced thinkers as diverse as Erwin Panofsky, Georg Lukacs, Walter Benjamin, Paul Feyerabend, Gilles Deleuze, and Félix Guattari. One of the founders of the modern discipline of art history, Riegl is best known for his theories of representation. Yet his inquiries into the role of temporality in artistic production—including his argument that art conveys a culture’s consciousness of time—show him to be a more wide-ranging and influential commentator on historiographical issues than has been previously acknowledged. In Time’s Visible Surface, Michael Gubser presents Riegl’s work as a sustained examination of the categories of temporality and history in art. Supported by a rich exploration of Riegl’s writings, Gubser argues that Riegl viewed artworks as registering historical time visibly in artistic forms. Gubser’s discussion of Riegl’s academic milieu also challenges the widespread belief that Austrian modernism adopted a self-consciously ahistorical worldview. By analyzing the works of Riegl’s professors and colleagues at the University of Vienna, Gubser shows that Riegl’s interest in temporality, from his early articles on calendar art through later volumes on the Roman art industry and Dutch portraiture, fit into a broad discourse on time, history, and empiricism that engaged Viennese thinkers such as the philosopher Franz Brentano, the historian Theodor von Sickel, and the art historian Franz Wickhoff. By expanding our understanding of Riegl and his intellectual context, Time’s Visible Surface demonstrates that Riegl is a pivotal figure in cultural theory and that fin-de-siècle Vienna holds continued relevance for today’s cultural and philosophical debates.
Diego Rivera, Dorothea Lange, Adolfo Pérez Esquivel: Art and activism have long been intertwined, and the political fallout has resulted in an artistic canon riddled with historical holes. One of the most glaring omissions from most listings of American art masters is Ad Reinhardt (1913–67). An artist who had significant ties to the American Communist movement and leftist political organizations, Reinhardt and his contributions to modern art have been largely pushed out of the spotlight for political reasons. But in this unprecedented in-depth study of Reinhardt’s life and work, Michael Corris returns the artist to his rightful place in the history of modern art and culture. A pioneering avant-garde artist with fierce political beliefs, Reinhardt immersed himself in the vibrant left-wing political and cultural circles of the 1930s and ’40s, only to be marginalized by the social and cultural conservatism that arose in postwar America. Corris examines Reinhardt’s work against this historical background, charting the development of his entire oeuvre, ranging from his abstract paintings to his popular graphic artwork, illustrations and cartoons. Ad Reinhardt also re-evaluates Reinhardt’s role and influence in the art world, chronicling his time as an artist and educator at the California School of Fine Arts, University of Wyoming, Yale University, and Hunter College, and examining his influence on younger artists who created successive avant-garde movements such as minimal and conceptual art. A long-awaited examination of a less-heralded American master, Ad Reinhardt is a fascinating portrait of an artist whose political radicalism infused his art with a poignant resonance that stretches, through this rediscovery, into the present.
This highly acclaimed volume examines the one firm bridge between the art of the humanists and the painters of the early Italian Renaissance: what Petrarch and other humanists wrote about painting. Baxandall surveys the main themes of their art criticism and describes how their language conditioned their insights into painting.
Archaeologists do not discover the past but take the fragmentary remains which they recover and make something of them. Archaeology is a process of detection and supposition; this is what makes it so fascinating. However, the interpretations of archaeologists differ and change over time. They depend upon the amount of evidence available, the ideas and preconceptions of the archaeologist and their interests and aims. Michael Shanks's enlivening work is a guide to the discipline of classical archaeology and its objects. It assesses archaeology as a means of reconstructing ancient Greek society using the latest approaches of social archaeology. In addition, The Classical Archaeology of Greece outlines the history of the discipline and discusses why Classical Greece continues to fascinate us and why it has had such an impact on European civilization and identity.
This book provides a lively and stimulating introduction to methodological debates within art history. Offering a lucid account of approaches from Hegel to post-colonialism, the book provides a sense of art history's own history as a discipline from its emergence in the late-eighteenth century to contemporary debates.
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