A Companion to Art Theory

ISBN-13: 9780631207627 / Angielski / Twarda / 2007 / 552 str.

Paul Smith; Carolyn Wilde

Opis

The Companion provides an accessible critical survey of Western visual art theory from sources in Classical, Medieval and Renaissance thought through to contemporary writings.

Spis treści

Plates ix

Notes on Contributors x

Preface xvi

Part I: Tradition and the Academy 1

Introduction: Alberti and the Formation of Modern Art Theory 3
Carolyn Wilde

1 The Classical Concept of Mimesis 19
Göran Sörbom

2 Medieval Art Theory 29
Hugh Bredin

3 Neoplatonist Aesthetics 40
Suzanne Stern–Gillet

4 Renaissance Art Theories 49
François Quiviger

5 Touch, Tactility, and the Reception of Sculpture in Early Modern Italy 61
Geraldine A. Johnson

6 The Spiritual Exercises of Leonardo da Vinci 75
Robert Williams

7 Academic Theory 1550 1800 88
Paul Duro

8 Rhetorical Categories in the Academy 104
Caroline van Eck

9 The Picturesque and its Development 116
Andrew Ballantyne

Part II: Around Modernism 125

10 The Aesthetics of Kant and Hegel 127
Jason Gaiger

11 E. H. Gombrich and the Tradition of Hegel 139
David Summers

12 German Romanticism and French Aesthetic Theory 150
Wendy S. Mercer

13 Expression: Natural, Personal, Pictorial 159
Richard Shiff

14 Reading Artists Words 173
Richard Hobbs

15 Nietzsche and the Artist 183
Michael White

16 Wittgenstein, Description, and Adrian Stokes (on Cezanne) 196
Paul Smith

17 Modernism and the Idea of the Avant–Garde 215
Paul Wood

18 On the Intention of Modern(ist) Art 229
Fred Orton

19 Anti–Art and the Concept of Art 244
Paul N. Humble

20 Marcel Duchamp s Readymades and Anti–Aesthetic Reflex 253
David Hopkins

Part III: Critical Theory and Postmodernism 265

21 Marxism and Critical Art History 267
David Craven

22 Walter Benjamin and Art Theory 286
Howard Caygill

23 Bakhtin and the Visual Arts 292
Deborah J. Haynes

24 Peirce s Visuality and the Semiotics of Art 303
Michael Leja

25 Conceptual Art 317
Charles Harrison

26 Barthes on Art 327
Margaret Iversen

27 Foucault and Art 337
Roy Boyne

28 Derrida and the Parergon 349
Robin Marriner

29 What Consciousness Forgets: Lyotard s Concept of the Sublime 360
Renée van de Vall

30 Deleuze on Francis Bacon 370
Ian Heywood

31 Feminisms and Art Theory 380
Marsha Meskimmon

32 Psycho–Phallus (Qu est–ce que c est?) 397
Mignon Nixon

Part IV: Interpretation and the Institution of Art 409

33 The Rules of Representation 411
John Willats

34 Gombrich and Psychology 426
Richard Woodfield

35 Hermeneutics and Art Theory 436
Nicholas Davey

36 Reciprocity and Reception Theory 448
Michael Ann Holly

37 The Paradox of Creative Interpretation in Art 458
Carl Hausman

38 Interdisciplinarity and Visual Culture 467
Charlotte Klonk

39 Against Curatorial Imperialism: Merleau–Ponty and the Historicity of Art 477
Paul Crowther

40 The Institutional Theory of Art: Theory and Antitheory 487
Garry L. Hagberg

Index 505

O autorze

Paul Smith is Chair of the History of Art department at the University of Warwick. His previous publications include Impressionism: Beneath the Surface (1995), Interpreting Cézanne (1996) and Seurat and the Avant–Garde (1997).

Carolyn Wilde is now retired and was formerly Senior Lecturer in Philosophy at the University of Bristol. Her publications include articles on philosophical aesthetics, the most recent of which is ′Style and Value in the Art of Painting′ in Richard Wollheim on the Art of Painting, edited by Rob van Gerwen, 2001.

Blurb

This survey of art theory in the context of Western visual art consists of 41 original essays written by experts in the field. Following an extensive introduction on the formation of modern art theory, the Companion is organized chronologically so that readers can trace developments of visual art theory, from classical and medieval sources and modern conceptions of art as they have been theorized since the Renaissance, through to some current theoretical preoccupations.

In addition to outlining and describing various theoretical positions, the book′s chapters articulate some assumptions that underpin them and raise more general questions about the nature of theorizing about art. In this way the Companion provides both an introduction to main themes of Western art theory and a source for critical enquiry into the purposes, possibilities and limitations of theory in the context of artistic practice.

The work can also be used alongside the three Art in Theory anthologies published by Blackwell, as a further art theory resource.