Kategoria BISAC: Art >> History - General

For most of the last century the methodology of art history has followed a positivist approach, emphasizing form and style, fact and history as the means of studying works of art. By contrast the philosophical pursuit of truth, once central to the fine arts and humanities has largely been abandoned. In For The Love of Beauty, Arthur Pontynen offers a searching and ambitious critique of modern aesthetic practice that aims to restore the pursuit of the knowledge of reality--Being--to its rightful place.

Pontynen begins by addressing the question of why the pursuit of truth (be...

Begun by young rebels committed to revolutionizing the creative arts, Pre-Raphaelitism has moved from the margins of nineteenth-century art and literature to the vanguard of interdisciplinary studies. The term is now used to denote the Pre-Raphaelite, Aesthetic, and Decadent movements in art, culture, and literature, but it has remained as difficult to define as ever. Haunted Texts attempts to meet the challenge of defining and illustrating the full spectrum of Pre-Raphaelitism.

Working with a diverse range of Pre-Raphaelite poetry, painting, decorative arts, book...

This volume of the Index Emblematicus deals with three early seventeenth-century works: Remaines of a Greater Worke Concerning Britaine, by William Camden; The Mirrour of Maiestie, by H.G.; and Otto van Veen's Amorum Emblemata. Camden's Remaines is noteworthy for using imprese in language as pictorial image; for mixing imprese with cognizance; and for considering impresa itself as the identity of the individual rather than as a general principle. H.G.'s Mirrour is remarkable in that every one of its emblems consists of a personal heraldic coat of arms of an identified statesman twinned...

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.

Medieval churches glowed with the colours of painted walls, altarpieces, and screens. Although much of this art has been lost, enough survives to illuminate this fascinating account of the methods and motivation of the medieval painter.

Within the Church, the painters worked to illustrate doctrine as well as to beautify God's house, but as the medieval economy prospered they translated their skills to the adornment of domestic architecture too. Combining documentary evidence with a study of surviving paintings, the author is able to reconstruct in detail the processes involved in...

The use of images as evidence in historical writing has been largely neglected by historians, though recent interest in the importance of visualization in scientific literature has led to a reappraisal of their value. In Drawn from Life, Victoria Dickenson uncovers a vast pictorial tradition of 'scientific illustration' that reveals how artists and writers, from the late sixteenth to the early nineteenth century portrayed the natural history and landscape of North America to European readers.

Dickenson undertakes a close reading of the images created by European artists, most of whom...

Ludovico Dolce's Dialogo della pittura first appeared in Venice in 1557. L'Aretino, by which the work is known today, consists of a three-part dialogue between two Venetians, Aretino and Fabrini, on the particular merits of works of art and artists, including Michaelangelo, Raphael, and Donatello. It is based largely on Aretino's letters.

The edition is presented in the original Italian with English facing-page translation.

This study of early art criticism serves to reveal something of how aesthetics were judged based on classical sources (especially Aristotle) and...