Modern Perspectives in Western Art History: An Anthology of Twentieth-century Writings on the Visual Arts

Couverture
University of Toronto Press, 1971 - 528 pages
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A collection of essays that reflect the breadth of twentieth-century scholarship in art history. Kleinbauer has sought to illustrate the variety of methods scholars have developed for conveying the unfolding of the arts in the Western world.

Originally published by Holt, Rinehart, and Winston, 1971.

 

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Table des matières

part one INTRODUCTION
1
part two INTRINSIC PERSPECTIVES
107
SYNTACTICAL ANALYSIS
124
FORMAL CHANGE
139
PERIOD DISTINCTIONS
154
ICONOGRAPHY AND ICONOLOGY
193
The Survival of Mythological Representations
204
The Dome of Heaven
227
ART HISTORY SOCIETY AND CULTURE
293
Theological Context
312
Marxist Context
339
Cultural Context
349
xii
381
ART HISTORY AND THE HISTORY OF IDEAS
397
Concepts of Periodicity
413
Unit Ideas
432

part three EXTRINSIC PERSPECTIVES
271
A Psychotic Artist of the Middle Ages
285
Key to Sources of Illustrations
463
Droits d'auteur

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Expressions et termes fréquents

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Page 52 - Renaissance, or of a peculiar religious attitude, we deal with the work of art as a symptom of something else which expresses itself in a countless variety of other symptoms, and we interpret its compositional and iconographical features as more particularized evidence of this "something else.
Page 428 - Antiquity was so concrete and, at the same time, so incomplete and distorted; whereas the modern one is, in a sense, abstract but more comprehensive and consistent. And this is why the mediaeval revivals were real but transitory whereas the Italian, or main, Renaissance was, in a sense, academic but permanent. Resurrected souls are somewhat intangible but they have the advantage of being immortal and omnipresent. Therefore the...
Page 298 - Blessed be the Lord, who hath not given us as a prey to their teeth. Our soul is escaped as a bird out of the snare of the fowlers: the snare is broken, and we are escaped. Our help is in the name of the Lord, who made heaven and earth.
Page 9 - ARCHITECTURE is the art which so disposes and adorns the edifices raised by man for whatsoever uses, that the sight of them contributes to his mental health, power and pleasure.
Page 415 - ... falsa pedum primis vestigia ponit in undis, inde abit ulterius, mediique per aequora ponti fert praedam. Pavet haec, litusque ablata relictum respicit, et dextra cornum tenet, altera dorso imposita est : tremulae sinuantur flamine vestes.
Page 5 - She is older than the rocks among which she sits ; like the vampire, she has been dead many times, and learned the secret of the grave ; and has been a diver in deep seas, and keeps their fallen day about her ; and trafficked for strange webs with Eastern merchants...
Page 81 - ... technological level. Between the economic relationships and the styles of art intervenes the process of ideological construction, a complex imaginative transposition of class roles and needs, which affects the special field — religion, mythology, or civil life — that provides the chief themes of art. The great interest of the Marxist approach lies not only in the attempt to interpret the historically changing relations of art and economic life in the light of a general theory of society but...
Page 416 - gnude piante a sé ristrette accoglie, quasi temendo il mar che lei non bagne: tale atteggiata di paura e doglie, par chiami invan le dolci sue compagne; le qual, rimase tra ' fioretti e foglie, dolenti Europa ciascheduna piagne.
Page 429 - It is precisely this notion of a "new time" which distinguishes the Italian Renaissance from all the so-called earlier "Renaissances" in the Carolingian and Ottonian times or in the twelfth century. These times may have experienced a certain revival of classical studies. but the people living in them did not conceive of or wish for a complete break with the traditions of the times immediately...

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À propos de l'auteur (1971)

W. Eugene Kleinbauer is a professor of Art History at Indiana University, Bloomington.

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