Download The Books that Shaped Art History: From Gombrich and by Richard Shone PDF

By Richard Shone

An exemplary survey that reassesses the influence of crucial books to have formed artwork background during the 20th century

Written by way of a few of today’s top artwork historians and curators, this new assortment offers a useful highway map of the sphere by way of evaluating and reexamining canonical artworks heritage. From Émile Mâle’s magisterial examine of thirteenth-century French paintings, first released in 1898, to Hans Belting’s provocative Likeness and Presence: A heritage of the picture sooner than the period of paintings, the e-book offers a concise and insightful assessment of the heritage of paintings, instructed via its such a lot enduring literature. all the essays seems on the influence of a unmarried significant publication of artwork heritage, mapping the highbrow improvement of the author lower than evaluation, taking off the premises and argument of the booklet, contemplating its place in the broader box of artwork historical past, and studying its value within the context of either its preliminary reception and its afterlife. An advent through John-Paul Stonard explores how paintings heritage has been cast by way of striking contributions to scholarship, and by means of the dialogues and ruptures among them. fifty four illustrations

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Extra info for The Books that Shaped Art History: From Gombrich and Greenberg to Alpers and Krauss

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Yet in some senses Wölfflin was ahead of his time, particularly in terms of the technical tools at his disposal. He often laments the inadequacy of reproductions to illustrate his point – if only the photographer of Sansovino’s St James had stood five feet to the right, his point about the classic silhouette effect would be perfectly clear. Yet, as David Summers shows, Wölfflin’s identification of five incredibly simple paired concepts to demonstrate the transition to Baroque art had a universal relevance and powerful legacy, particularly for a type of art history based on hard sober looking and formal analysis.

35 However, Mâle’s ‘thought of the time’ was no abstract entity in the sense of a Hegelian Zeitgeist. 1930–31. Front row, left to right: J. Rouset, Emile Mâle, Suzanne Vitte, Jean Seznec. E. Marrau, A. Dupront, Michel de Boüard, Sony Lattés. (RMN–Grand Palais (Institut de France)/Gérard Blot) By insisting on the importance of thought in art, Mâle distanced himself in another way from Hugo. For the novelist, the cathedral was an expression of secular society, and created by lay artists. 37 Mâle criticised Hugo for having portrayed medieval artists as proto-revolutionary free-thinkers, and was at pains to demonstrate that the thirteenth century was dogmatic, a finished system, a time when artists obeyed the rules set in place by the church.

Both identify technique as a crucial question, with its own logic of development distinct from the need to transcribe natural appearances. Unlike Clark and Gombrich however, Greenberg argues from a strongly partisan viewpoint, and proposes a connection between the philosophical analysis of artistic form and a political viewpoint as the basis for art criticism. From a different perspective, the relationship between art and society also underpins Francis Haskell’s Patrons and Painters: A Study in the Relations Between Italian Art and Society in the Age of the Baroque (1963).

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