Art history - Knowledge (XXG)

1258: 1996:, of critical discourse surrounding women's interactions with the arts as both artists and subjects. In her pioneering essay, Nochlin applies a feminist critical framework to show systematic exclusion of women from art training, arguing that exclusion from practicing art as well as the canonical history of art was the consequence of cultural conditions which curtailed and restricted women from art producing fields. The few who did succeed were treated as anomalies and did not provide a model for subsequent success. 1654: 1238: 2365: 211: 3333: 1593:. Together they developed much of the vocabulary that continues to be used in the 21st century by art historians. "Iconography"—with roots meaning "symbols from writing" refers to subject matter of art derived from written sources—especially scripture and mythology. "Iconology" is a broader term that referred to all symbolism, whether derived from a specific text or not. Today art historians sometimes use these terms interchangeably. 77: 1370:(1818–1897), one of the founders of art history, noted that Winckelmann was 'the first to distinguish between the periods of ancient art and to link the history of style with world history'. From Winckelmann until the mid-20th century, the field of art history was dominated by German-speaking academics. Winckelmann's work thus marked the entry of art history into the high-philosophical discourse of German culture. 2053:'s connoted and denoted meanings are paramount to this examination. In any particular work of art, an interpretation depends on the identification of denoted meaning—the recognition of a visual sign, and the connoted meaning—the instant cultural associations that come with recognition. The main concern of the semiotic art historian is to come up with ways to navigate and interpret connoted meaning. 3344: 1612:. In this respect they were part of an extraordinary influx of German art historians into the English-speaking academy in the 1930s. These scholars were largely responsible for establishing art history as a legitimate field of study in the English-speaking world, and the influence of Panofsky's methodology, in particular, determined the course of American art history for a generation. 36: 1544:, and attempted to develop it into a full-blown art-historical methodology. Sedlmayr, in particular, rejected the minute study of iconography, patronage, and other approaches grounded in historical context, preferring instead to concentrate on the aesthetic qualities of a work of art. As a result, the Second Vienna School gained a reputation for unrestrained and irresponsible 3321: 2351: 140: 1330:(1717–1768) criticized Vasari's "cult" of artistic personality, and they argued that the real emphasis in the study of art should be the views of the learned beholder and not the viewpoint of the artist. Winckelmann's writings thus were the beginnings of art criticism. His two most notable works that introduced the concept of art criticism were 1557: 234:, including the various visual and conceptual outcomes related to an ever-evolving definition of art. Art history encompasses the study of objects created by different cultures around the world and throughout history that convey meaning, importance or serve usefulness primarily through visual representations. 258:

political and social events? It is, however, questionable whether many questions of this kind can be answered satisfactorily without also considering basic questions about the nature of art. The current disciplinary gap between art history and the philosophy of art (aesthetics) often hinders this inquiry.

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Art historians often examine work in the context of its time. At best, this is done in a manner which respects its creator's motivations and imperatives; with consideration of the desires and prejudices of its patrons and sponsors; with a comparative analysis of themes and approaches of the creator's

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for old objects in organic materials have allowed scientific methods of dating objects to confirm or upset dates derived from stylistic analysis or documentary evidence. The development of good color photography, now held digitally and available on the internet or by other means, has transformed the

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These two movements helped other artists to create pieces that were not viewed as traditional art. Some examples of styles that branched off the anti-art movement would be Neo-Dadaism, Surrealism, and Constructivism. These styles and artists did not want to surrender to traditional ways of art. This

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Jung emphasized the importance of balance and harmony. He cautioned that modern humans rely too heavily on science and logic and would benefit from integrating spirituality and appreciation of the unconscious realm. His work not only triggered analytical work by art historians but became an integral

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Aspects of the subject which have come to the fore in recent decades include interest in the patronage and consumption of art, including the economics of the art market, the role of collectors, the intentions and aspirations of those commissioning works, and the reactions of contemporary and later

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The legacy of psychoanalysis and analytical psychology in art history has been profound, and extends beyond Freud and Jung. The prominent feminist art historian Griselda Pollock, for example, draws upon psychoanalysis both in her reading into contemporary art and in her rereading of modernist art.

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to answer the questions: How did the artist come to create the work?, Who were the patrons?, Who were their teachers?, Who was the audience?, Who were their disciples?, What historical forces shaped the artist's oeuvre and how did he or she and the creation, in turn, affect the course of artistic,

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by using critical approaches. The goal was to show how art interacts with power structures in society. One such critical approach was Marxism. Marxist art history attempted to show how art was tied to specific classes, how images contain information about the economy, and how images can make the

2233:(1808 or 1810) sets a sublime scene representing the overwhelming beauty and strength of the German shoreline at the Baltic Sea. In the infancy of the American colonies, the people believed it was their destiny to explore the Western, "untamed", wilderness. Artists who had been training at the 1596:

Panofsky, in his early work, also developed the theories of Riegl, but became eventually more preoccupied with iconography, and in particular with the transmission of themes related to classical antiquity in the Middle Ages and Renaissance. In this respect his interests coincided with those of

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c. (332–329 BC), have been especially well-known.) Similar, though independent, developments occurred in the 6th century China, where a canon of worthy artists was established by writers in the scholar-official class. These writers, being necessarily proficient in calligraphy, were artists

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is an example of a representational style that was not directly imitative, but strove to create an "impression" of nature. If the work is not representational and is an expression of the artist's feelings, longings and aspirations or is a search for ideals of beauty and form, the work is

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of art. He emphasized art's progression and development, which was a milestone in this field. His was a personal and a historical account, featuring biographies of individual Italian artists, many of whom were his contemporaries and personal acquaintances. The most renowned of these was

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Semiotics operates under the theory that an image can only be understood from the viewer's perspective. The artist is supplanted by the viewer as the purveyor of meaning, even to the extent that an interpretation is still valid regardless of whether the creator had intended it.

2098:? What significance did she have to him? Or, maybe she is an icon for all of womankind. This chain of interpretation, or "unlimited semiosis" is endless; the art historian's job is to place boundaries on possible interpretations as much as it is to reveal new possibilities. 1780:, for example, famously created a series of drawings to accompany his sessions with his Jungian analyst, Joseph Henderson. Henderson, who later published the drawings in a text devoted to Pollock's sessions, realized how powerful the drawings were as a therapeutic tool. 2068:'s differential meaning in effort to read signs as they exist within a system. According to Schapiro, to understand the meaning of frontality in a specific pictorial context, it must be differentiated from, or viewed in relation to, alternate possibilities such as a 1548:, and was furthermore colored by Sedlmayr's overt racism and membership in the Nazi party. This latter tendency was, however, by no means shared by all members of the school; Pächt, for example, was himself Jewish, and was forced to leave Vienna in the 1930s. 1897:

is one of the best-remembered Marxist art historians of the mid-20th century. After his graduation from Columbia University in 1924, he returned to his alma mater to teach Byzantine, Early Christian, and medieval art along with art-historical theory.

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Warburg, the son of a wealthy family who had assembled a library in Hamburg, devoted to the study of the classical tradition in later art and culture. Under Saxl's auspices, this library was developed into a research institute, affiliated with the

1434:(1864–1945), who studied under Burckhardt in Basel, is the "father" of modern art history. Wölfflin taught at the universities of Berlin, Basel, Munich, and Zurich. A number of students went on to distinguished careers in art history, including 1419:, one of the first historical surveys of the history of art from antiquity to the Renaissance, facilitated the teaching of art history in German-speaking universities. Schnaase's survey was published contemporaneously with a similar work by 2240:

Most art historians working today identify their specialty as the art of a particular culture, time period, or movement like, 19th-century German or contemporary Chinese art. A focus on nationhood has deep roots in the discipline. Indeed,

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analysis is one which focuses on particular design elements of an object. Through a close reading of such elements, it is possible to trace their lineage, and with it draw conclusions regarding the origins and trajectory of these

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espoused this concept in her essay "In the Name of Picasso." She denounced the artist's monopoly on meaning and insisted that meaning can only be derived after the work has been removed from its historical and social context.

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theories are all well established in the discipline. As in literary studies, there is an interest among scholars in nature and the environment, but the direction that this will take in the discipline has yet to be determined.

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The making of art, the academic history of art, and the history of art museums are closely intertwined with the rise of nationalism. Art created in the modern era, in fact, has often been an attempt to generate feelings of

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argued similarly that meaning does not even exist until the image is observed by the viewer. It is only after acknowledging this that meaning can become opened up to other possibilities such as feminism or psychoanalysis.

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Though the use of posthumous material to perform psychoanalysis is controversial among art historians, especially as the sexual mores of Michelangelo's and Leonardo's time and Freud's are different, it is often attempted.

1915:. He attempted to show how class consciousness was reflected in major art periods. The book was controversial when published in 1951 because of its generalizations about entire eras, a strategy now called " 1104:. Is the artist not imitating, but instead relying on symbolism or in an important way striving to capture nature's essence, rather than copy it directly? If so the art is non-representational—also called 2060:. Art historians do not commonly commit to any one particular brand of semiotics but rather construct an amalgamated version which they incorporate into their collection of analytical tools. For example, 2247: 1284: 2094:. The image does not seem to denote religious meaning and can therefore be assumed to be a portrait. This interpretation leads to a chain of possible interpretations: who was the sitter in relation to 2080:

whose object, sign, and interpretant provided a structure for his approach. Alex Potts demonstrates the application of Peirce's concepts to visual representation by examining them in relation to the

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to frame their inquiries into objects. Theory is most often used when dealing with more recent objects, those from the late 19th century onward. Critical theory in art history is often borrowed from

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Panel, chaired by Nochlin, entitled "Eroticism and the Image of Woman in Nineteenth-Century Art". Within a decade, scores of papers, articles, and essays sustained a growing momentum, fueled by the

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in 1932 shows his political involvement within art. This piece of art can be analysed to show the internal troubles Soviet Russia was experiencing at the time. Perhaps the best-known Marxist was

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looked like faces. Secondly, he introduced the idea of studying art through comparison. By comparing individual paintings to each other, he was able to make distinctions of style. His book

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Art history is an interdisciplinary practice that analyzes the various factors—cultural, political, religious, economic or artistic—which contribute to visual appearance of a work of art.

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Traditionally, the discipline of art history emphasized painting, drawing, sculpture, architecture, ceramics and decorative arts; yet today, art history examines broader aspects of visual

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have since changed to a more affirmative notion of leftover materials of capitalist culture. Greenberg now is well known for examining and criticizing the formal properties of modern art.

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Movement jump-started the anti-art style. German artists, upset by the World War in 1914, wanted to create artworks which were nonconforming and aimed to destroy traditional art styles.

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Warburg died in 1929, and in the 1930s Saxl and Panofsky, both Jewish, were forced to leave Hamburg. Saxl settled in London, bringing Warburg's library with him and establishing the

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Heinrich Wölfflin was not the only scholar to invoke psychological theories in the study of art. An unexpected turn in the history of art criticism came in 1910 when psychoanalyst

1536:, received their degrees at Vienna at this time. The term "Second Vienna School" (or "New Vienna School") usually refers to the following generation of Viennese scholars, including 1449:. He introduced a scientific approach to the history of art, focusing on three concepts. Firstly, he attempted to study art using psychology, particularly by applying the work of 756: 1100:

art. Is the artist imitating an object or can the image be found in nature? If so, it is representational. The closer the art hews to perfect imitation, the more the art is

1540:, Otto Pächt, and Guido Kaschnitz von Weinberg. These scholars began in the 1930s to return to the work of the first generation, particularly to Riegl and his concept of 1129:. In turn, it is possible to make any number of observations regarding the social, cultural, economic and aesthetic values of those responsible for producing the object. 4138: 3917: 1471:, Wölfflin was uninterested in the biographies of artists. In fact he proposed the creation of an "art history without names." Finally, he studied art based on ideas of 2141:

photographic techniques which have allowed many underdrawings of paintings to be seen again, including figures that had been removed from the piece. Proper analysis of

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The discipline of art history is traditionally divided into specializations or concentrations based on eras and regions, with further sub-division based on media.

2922: 1513:, and was characterized by a tendency to reassess neglected or disparaged periods in the history of art. Riegl and Wickhoff both wrote extensively on the art of 1760:

were not merely due to chance but, instead, suggested the manifestation of parallel events or circumstances reflecting this governing dynamic. He argued that a

2090:, for example, as something beyond its materiality is to identify it as a sign. It is then recognized as referring to an object outside of itself, a woman, or 2003:

While feminist art history can focus on any time period and location, much attention has been given to the Modern era. Some of this scholarship centers on the

1988:" helped to ignite feminist art history during the 1970s and remains one of the most widely read essays about female artists. This was then followed by a 1972 2169:

Concurrent to those technological advances, art historians have shown increasing interest in new theoretical approaches to the nature of artworks as objects.

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in the final two pages of the Conclusion, Jung stated that not all coincidences are meaningful and further explained the creative causes of this phenomenon.

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are substantial efforts to bring feminist perspectives into the discourse of art history. The pair also co-founded the Feminist Art History Conference.

2007:, which referred specifically to the experience of women. Often, feminist art history offers a critical "re-reading" of the Western art canon, such as 3922: 2450: 3190: 1517:, which before them had been considered as a period of decline from the classical ideal. Riegl also contributed to the revaluation of the Baroque. 3630: 1839: 2158:

study of many types of art, especially those covering objects existing in large numbers which are widely dispersed among collections, such as

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Scientific advances have made possible much more accurate investigation of the materials and techniques used to create works, especially

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Although he wrote about numerous time periods and themes in art, he is best remembered for his commentary on sculpture from the late

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Semiotic art history seeks to uncover the codified meaning or meanings in an aesthetic object by examining its connectedness to a

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Vasari's ideas about art were enormously influential, and served as a model for many, including in the north of Europe

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developed this idea, and was the first to show how these stylistic periods differed from one another. In contrast to

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and determining the essence of beauty. Technically, art history is not these things, because the art historian uses

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This article is about the academic discipline of art history. For an overview of the history of art worldwide, see

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Our 21st-century understanding of the symbolic content of art comes from a group of scholars who gathered in

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that states a Knowledge (XXG) editor's personal feelings or presents an original argument about a topic.

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was also well known for commissioning works that emphasized the strength of France with him as ruler.

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way of thinking provoked political movements such as the Russian Revolution and the communist ideals.

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and Psychoanalysis has strongly informed the reframing of both men and women artists in art history.

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is another prominent feminist art historian, whose use of psychoanalytic theory is described above.

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and it involves the application of a non-artistic analytical framework to the study of art objects.

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website created by Adrienne DeAngelis, currently incomplete, intended to be unabridged, in English.

2325:. Similar organizations exist in other parts of the world, as well as for specializations, such as 2234: 2229: 2203: 2154: 1967:. These books focused closely on the political and economic climates in which the art was created. 1709: 1629: 1157: 1126: 907: 2628: 1764:

and archetypal imagery were detectable in art. His ideas were particularly popular among American

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Contemporaneous with Wölfflin's career, a major school of art-historical thought developed at the

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Art historians also often examine work through an analysis of form; that is, the creator's use of

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The earliest surviving writing on art that can be classified as art history are the passages in

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is, briefly, the history of art—or the study of a specific type of objects created in the past.

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in New York, took on the task of presenting the unknown land as both picturesque and sublime.

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The Spiritual Rococo: Décor and Divinity from the Salons of Paris to the Missions of Patagonia

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established the theoretical foundations for art history as an autonomous discipline, and his

3993: 3795: 3790: 3780: 3579: 3449: 3332: 2761: 2526: 2379: 2146: 1997: 1964: 1785: 1674: 1658: 1382: 1367: 1301: 1276: 797: 768: 409: 99: 55: 1521: 1206:), a Greek sculptor who was perhaps the first art historian. Pliny's work, while mainly an 4151: 3961: 3929: 3823: 3800: 3515: 2904: 2587: 2522: 2474: 2391: 2370: 2275: 2103: 1960: 1809: 1805: 1777: 1545: 1510: 1435: 1261: 1175: 1133: 1077: 700: 680: 613: 372: 357: 315: 283: 1873:, and seeing kitsch and art as opposites. Greenberg further claimed that avant-garde and 3237:

The Spiritual Dynamic in Modern Art : Art History Reconsidered, 1800 to the Present

1947:. T. J. Clark was the first art historian writing from a Marxist perspective to abandon 1890: 3815: 3805: 3702: 3584: 3419: 2851: 2825: 2721:

Gayford, Martin (18 February 2017). "Exhibitions: Revolution – Russian Art 1917–1932".

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and the arts. His most notable contributions include his concept of the psychological

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Gedanken über die Nachahmung der griechischen Werke in der Malerei und Bildhauerkunst

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While personal reminiscences of art and artists have long been written and read (see

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space to create their art. The way these individual elements are employed results in

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and sexual orientation. Freud inferred from his analysis that Leonardo was probably

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Principles of Art History; the problem of the development of style in later art

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Many of the largest and most well-funded art museums of the world, such as the

1788:'s reading of French feminist psychoanalysis and in particular the writings of 3988: 3883: 3738: 3726: 3692: 3647: 3637: 3540: 3535: 3074:. Point of view series. Reston, Virginia: National Art Education Association. 2650: 2642: 2346: 2207: 2195: 1920: 1769: 1741: 1728:. Much of his life's work was spent exploring Eastern and Western philosophy, 1725: 1636:. In 1914 Freud published a psychoanalytical interpretation of Michelangelo's 1633: 1586: 1472: 1137: 874: 773: 734: 710: 665: 660: 645: 553: 533: 362: 308: 246: 2846: 1532:. A number of the most important twentieth-century art historians, including 3657: 3547: 3464: 3395: 3343: 2820: 2657:. London. Hogarth Press and Institute of Psycho-Analysis. 1st edition, 1955. 2134: 2108: 2082: 2046: 1874: 1866: 1830: 1745: 1737: 1733: 1717: 1697: 1670: 1381:, both of whom began to write on the history of art, and his account of the 1085: 902: 884: 849: 778: 739: 690: 563: 483: 320: 1454: 3320: 2251:

is an attempt to show the superiority of Florentine artistic culture, and

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forms, and was instrumental in reforming taste in favor of the more sober

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The Standard Edition of the Complete Psychological Works of Sigmund Freud

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In the United States, the most important art history organization is the

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provided a new appreciation for one's home country, or new home country.

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Reclaiming Feminist Agency: Feminist Art History After Postmodernism

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colleagues and teachers; and with consideration of iconography and

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used in paint is now possible, which has upset many attributions.

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Jung defined the collective unconscious as akin to instincts in

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The Shorter Columbia Anthology of Traditional Chinese Literature

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is the premiere organization, and it publishes a journal titled

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Academic study of objects of art in their historical development

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Lives of the Most Excellent Painters, Sculptors, and Architects

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Lives of the Most Excellent Painters, Sculptors, and Architects

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in Washington are state-owned. Most countries, indeed, have a

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art was a means to resist the leveling of culture produced by

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and composition. This approach examines how the artist uses a

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Art History and Its Institutions: Foundations of a Discipline

2965: 2797:"Feminist Art History Conference 2020 at American University" 2637:. Translated from the German under the general editorship of 2282:. The National Gallery of Art thus showcases art made in the 2181:

have played an increasing role in art historical literature.

1708:. Jung's approach to psychology emphasized understanding the 1501:. The first generation of the Vienna School was dominated by 2259:) attempt to distinguish Italian from German styles of art. 1772:

concept of drawing imagery from dreams and the unconscious.

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also applied psychoanalytic theory to art. Jung was a Swiss

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Western art for example, can be divided into the following

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As opposed to iconography which seeks to identify meaning,

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personal reflection, personal essay, or argumentative essay

1407:. Hegel's philosophy served as the direct inspiration for 3148:

Farewell to an Idea: Episodes from a History of Modernism

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and Renaissance art history. In the UK, for example, the

1646:). He published this work shortly after reading Vasari's 1340:

published an English translation in 1765 under the title

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Art in Theory, 1900–2000: An Anthology of Changing Ideas

3130:. 2nd ed. Upper Saddle River, New Jersey: Prentice Hall. 3119:

Harrison, Charles, Paul Wood, and Jason Gaiger. (2000).

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wrote the first Marxist survey of Western Art, entitled

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onwards. (Passages about techniques used by the painter

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Art in Theory 1648–1815: An Anthology of Changing Ideas

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and Catherine de Zegher's curatorial rereading of art,

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Reflections on the Painting and Sculpture of the Greeks

157: 95: 2985:(2nd ed.). Chicago: University of Chicago Press. 2451:"What is art history and where is it going? (article)" 2313:. It organizes an annual conference and publishes the 1336:, published in 1755, shortly before he left for Rome ( 2390:, a database of notable art historians maintained by 1820:

During the mid-20th century, art historians embraced

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The next generation of professors at Vienna included

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Marxist art history was refined by scholars such as

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of the sciences, has thus been influential from the

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Art History: A Critical Introduction to its Methods

1756:. Jung believed that many experiences perceived as 237:As a discipline, art history is distinguished from 3178:. 2 vols, Routledge Key Guides. London: Routledge. 2755:, "Preliminaries to a Possible Reading of Manet's 2210:were attempts to define that country's identity. 2076:. Schapiro combined this method with the work of 2031:The Expanding Discourse: Feminism and Art History 1577:in the 1920s. The most prominent among them were 1195:. From them it is possible to trace the ideas of 249:, which includes investigating the enigma of the 2981:Nelson, Robert S.; Shiff, Richard, eds. (2003). 2027:Feminism and Art History: Questioning the Litany 1869:standards from the decline of taste involved in 1108:. Realism and abstraction exist on a continuum. 3868:Timeline of 20th century printmaking in America 2286:, but also owns objects from across the world. 3140:, 1968–2000. Malden, Massachusetts: Blackwell. 3088:. Englewood Cliffs, New Jersey: Prentice Hall. 2202:is an especially good example of this, as the 1768:in the 1940s and 1950s. His work inspired the 3376: 3100:The Penguin concise dictionary of art history 3039:. Ithaca, New York: Cornell University Press. 2166:, and many types of archaeological artworks. 1885:' to describe this consumerism, although its 1219:themselves. The artists are described in the 1019: 84:The examples and perspective in this article 8: 1951:. He wrote Marxist art histories of several 1345: 1331: 3185:. 2nd ed. Malden, Massachusetts: Blackwell. 3037:Panofsky and the foundations of art history 2940: 2886: 2604:(3rd ed.). : Oxford University Press. 1986:Why Have There Been No Great Women Artists? 1861:". In the essay Greenberg claimed that the 64:Learn how and when to remove these messages 3383: 3369: 3361: 3181:Harrison, Charles, and Paul Wood. (2003). 3070:Fitzpatrick, Virginia L. N. V. D. (1992). 2921:: CS1 maint: location missing publisher ( 2049:is concerned with how meaning is created. 1881:. Greenberg appropriated the German word ' 1026: 1012: 265: 3093:The methodologies of art: an introduction 3028:Arntzen, E., & Rainwater, R. (1980). 2953: 2681:Archetypes and the Collective Unconscious 2255:'s writings (especially his monograph on 1704:, an influential thinker, and founder of 198:Learn how and when to remove this message 180:Learn how and when to remove this message 122:Learn how and when to remove this message 3259:16th edition. Boston: Cengage Learning. 3194:. Chicago: University of Chicago Press. 3191:The Invention of Art: A Cultural History 3072:Art History: A Contextual Inquiry Course 3032:. Chicago: American Library Association. 2934: 2932: 1796:, as with Rosalind Krauss's readings of 3056:Kemal, Salim, and Ivan Gaskell (1991). 3046:. Toronto: University of Toronto Press. 2418: 1608:. Panofsky settled in Princeton at the 1528:, Hans Tietze, Karl Maria Swoboda, and 268: 3157:. Cambridge, Massachusetts: MIT Press. 3030:Guide to the literature of art history 2914: 2885:Bann, S. "Meaning/Interpretation". In 2871:All ideas in this paragraph reference 1487:Riegl, Wickhoff, and the Vienna School 1170:Pliny the Elder and ancient precedents 3138:Feminism – Art – Theory: An Anthology 2872: 7: 1191:–79), concerning the development of 3155:Neo-Avantgarde and Culture Industry 3150:. New Haven: Yale University Press. 2559:, p. 51. Retrieved January 25, 2010 3967:Index of painting-related articles 3273:. London and New York: Bloomsbury 1347:Geschichte der Kunst des Altertums 1113:non-representational or a work of 1041:Art historians employ a number of 14: 3271:Creation. Art Since the Beginning 3051:Principles of art history writing 2694:Jackson Pollock: An American Saga 45:This article has multiple issues. 3355:Art History Resources on the Web 3342: 3331: 3319: 3204:Pollock, Griselda (ed.) (2006). 2363: 2349: 2017:. Two pioneers of the field are 1712:through exploring the worlds of 138: 75: 34: 2655:Totem And Taboo and Other Works 1851:Shock Workers from Dnieprostroi 1624:published a book on the artist 1427:Wölfflin and stylistic analysis 1417:Geschichte der bildenden Künste 1373:Winckelmann was read avidly by 1233:Vasari and artists' biographies 53:or discuss these issues on the 3255:Gardner's Art Through the Ages 3102:. New York: Penguin Reference. 3086:Critical Theory of Art History 3060:. Cambridge University Press. 3044:Art history: its use and abuse 2983:Critical Terms for Art History 1977:Women in the art history field 1399:in 1790, and was furthered by 1: 3160:Mansfield, Elizabeth (2002). 3023:The philosophy of art history 2501:Art History versus Aesthetics 2475:"What is the History of Art?" 2331:Association of Art Historians 2116:Museum studies and collecting 1994:Second-wave feminist movement 1657:Group photo 1909 in front of 1564: 1322:Winckelmann and art criticism 1248: 1200: 1185: 1165:Timeline of prominent methods 3906:Museum collection management 3829:Art history (academic study) 3708:alternative exhibition space 3310:Resources in other libraries 3206:Psychoanalysis and the Image 3126:Minor, Vernon Hyde. (2001). 3084:Minor, Vernon Hyde. (1994). 2727:. Retrieved 29 October 2018. 2602:The Oxford Dictionary of Art 2539:Dictionary of Art Historians 2507:(New York: Routledge, 2006). 2431:Yale University Press London 2387:Dictionary of Art Historians 1610:Institute for Advanced Study 1493:Vienna School of Art History 1193:Greek sculpture and painting 25:Art history (disambiguation) 4067:Colossal sculptures in situ 3771:Artist-in-residence program 3153:Buchloh, Benjamin. (2001). 3058:The Language of Art History 2653:. Volume XIII (1913–1914): 2629:"The Moses of Michelangelo" 1352:History of Art in Antiquity 1288:, who wrote the first true 1045:in their research into the 98:, discuss the issue on the 4214: 4077:Contemporary art galleries 3972:Outline of the visual arts 3220:The Shaping of Art History 2911:. Manchester. p. 213. 2590:retrieved January 25, 2010 2571:retrieved January 25, 2010 2541:Retrieved January 25, 2010 2305:Professional organizations 2268:Victoria and Albert Museum 1974: 1644:Der Moses des Michelangelo 1490: 1375:Johann Wolfgang von Goethe 1328:Johann Joachim Winckelmann 1268:Johann Joachim Winckelmann 1232: 1222:Six Principles of Painting 18: 4147: 3305:Resources in your library 3269:John-Paul Stonard (2021) 3218:Emison, Patricia (2008). 3095:. New York: IconEditions. 2941:Nelson & Shiff (2003) 2887:Nelson & Shiff (2003) 2569:Artnet artist biographies 2518:The Historie of the World 2407:Theosophy and visual arts 2014:Les Demoiselles d'Avignon 1913:The Social History of Art 1865:arose in order to defend 1825:status quo seem natural ( 1808:written in the fields of 1601:, where Panofsky taught. 1385:occasioned a response by 4131:Most expensive paintings 3918:Conservation-restoration 3720:Contemporary art gallery 3123:. Malden, MA: Blackwell. 2939:Potts, Alex. "Sign". In 2427:"An Introduction to Art" 2179:object-oriented ontology 2058:collective consciousness 2011:'s re-interpretation of 1905:and early Renaissance. 1616:Freud and psychoanalysis 1552:Panofsky and iconography 1132:Many art historians use 1049:and history of objects. 4139:works by living artists 3901:Classificatory disputes 3252:Kleiner, F. S. (2018). 3243:Gauvin Alexander Bailey 3188:Shiner, Larry. (2003). 3174:Murray, Chris. (2003). 3042:Johnson, W. M. (1988). 3018:. : Dover Publications. 2966:College Art Association 2847:"Definition of connote" 2795:wpengine (2019-09-02). 2311:College Art Association 2272:National Gallery of Art 2185:Nationalist art history 2160:illuminated manuscripts 1990:College Art Association 1834:Marcel Duchamp and the 1766:Abstract expressionists 3347:Quotations related to 3107:Differencing the Canon 2821:"Definition of denote" 2641:in collaboration with 2600:Chilvers, Ian (2005). 2225:Caspar David Friedrich 2078:Charles Sanders Peirce 1930:Otto Karl Werckmeister 1859:Avant-Garde and Kitsch 1762:collective unconscious 1750:collective unconscious 1685: 1667:Granville Stanley Hall 1570: 1560:Photographer unknown, 1413:Niederländische Briefe 1405:Lectures on Aesthetics 1346: 1332: 1272: 1254: 448:Art of the Middle East 221: 160:by rewriting it in an 23:. For other uses, see 3776:Artist-run initiative 3663:Visual arts education 3208:. Oxford: Blackwell. 3128:Art history's history 3105:Pollock, G., (1999). 3035:Holly, M. A. (1984). 3014:(1915, trans. 1932). 2954:Hatt & Klonk 2006 2327:architectural history 2196:love of one's country 2041:Barthes and semiotics 2005:feminist art movement 1975:Further information: 1879:capitalist propaganda 1802:Jean-François Lyotard 1706:analytical psychology 1656: 1599:University of Hamburg 1559: 1260: 1240: 1080:picture plane or the 571:Art of Southeast Asia 278:Periods and movements 213: 4072:Contemporary artists 3935:Destination painting 3732:Single-artist museum 3621:Conservator-restorer 3328:at Wikimedia Commons 3098:Frazier, N. (1999). 3049:Carrier, D. (1991). 2743:, Beacon Press, 1961 2413:Notes and references 2192:national superiority 2175:actor–network theory 2121:viewers and owners. 2025:. Their anthologies 1971:Feminist art history 1776:part of art-making. 1752:, and his theory of 1526:Julius von Schlosser 1499:University of Vienna 1421:Franz Theodor Kugler 1411:'s work. Schnaase's 1396:Critique of Judgment 1312:Joachim von Sandrart 1197:Xenokrates of Sicyon 1098:non-representational 104:create a new article 96:improve this article 86:may not represent a 4062:Art reference books 3856:History of painting 3440:Fine-art photograph 3257:: A Global History. 3249:. Farnham: Ashgate. 3021:Hauser, A. (1959). 2956:, pp. 205–208. 2765:21.1 (1980): 18–42. 2703:Gregory White Smith 2290:Divisions by period 2235:Hudson River School 2204:Russian avant-garde 2155:radio-carbon dating 1959:artists, including 1693:Jung and archetypes 1509:, both students of 757:Art of the Americas 496:Art of Central Asia 4157:Visual arts portal 4087:National galleries 3940:Eclecticism in art 3895:Catalogue raisonné 3766:Artist cooperative 3176:Key Writers on Art 3091:Adams, L. (1996). 3025:. New York: Knopf. 2586:2010-12-05 at the 2214:Napoleon Bonaparte 2164:Persian miniatures 2074:three-quarter view 1794:Bracha L. Ettinger 1686: 1571: 1440:Frida Schottmüller 1379:Friedrich Schiller 1273: 1255: 383:Post-Impressionism 222: 162:encyclopedic style 149:is written like a 4193:Fields of history 4170: 4169: 3761:Artist collective 3575:Site-specific art 3425:Cultural artifact 3324:Media related to 3291:Library resources 3233:Charlene Spretnak 3228:978-0-271-03306-8 3200:978-0-226-75342-3 2737:Clement Greenberg 2280:cultural heritage 2253:Heinrich Wölfflin 2096:Leonardo da Vinci 1941:Theodor W. Adorno 1855:Clement Greenberg 1816:Marx and ideology 1626:Leonardo da Vinci 1606:Warburg Institute 1530:Josef Strzygowski 1432:Heinrich Wölfflin 1326:Scholars such as 1316:Teutsche Akademie 1138:literary scholars 1036: 1035: 546:Art of South Asia 255:historical method 243:philosophy of art 208: 207: 200: 190: 189: 182: 132: 131: 124: 106:, as appropriate. 68: 4205: 4126:Stolen paintings 3994:Sociology of art 3945:Economics of art 3796:Sculpture garden 3781:Artist-run space 3580:Social sculpture 3450:Installation art 3385: 3378: 3371: 3362: 3346: 3335: 3323: 3134:Robinson, Hilary 2996: 2968: 2963: 2957: 2951: 2945: 2944: 2936: 2927: 2926: 2920: 2912: 2905:Klonk, Charlotte 2897: 2891: 2890: 2882: 2876: 2869: 2863: 2862: 2860: 2859: 2843: 2837: 2836: 2834: 2833: 2817: 2811: 2810: 2808: 2807: 2792: 2786: 2785: 2772: 2766: 2750: 2744: 2734: 2728: 2719: 2713: 2690: 2684: 2677: 2671: 2664: 2658: 2622: 2616: 2615: 2597: 2591: 2578: 2572: 2566: 2560: 2548: 2542: 2536: 2530: 2527:Philemon Holland 2525:, translated by 2514: 2508: 2497: 2491: 2490: 2488: 2487: 2471: 2465: 2464: 2462: 2461: 2447: 2441: 2440: 2438: 2437: 2423: 2380:Bildwissenschaft 2373: 2368: 2367: 2359: 2354: 2353: 2352: 2276:national gallery 2147:Dendrochronology 2086:. By seeing the 1998:Griselda Pollock 1939:, David Kunzle, 1938: 1871:consumer society 1786:Griselda Pollock 1675:Abraham A. Brill 1659:Clark University 1569: 1566: 1448: 1368:Jacob Burckhardt 1349: 1335: 1302:Karel van Mander 1277:Lorenzo Ghiberti 1253: 1250: 1205: 1202: 1190: 1187: 1094:representational 1082:three dimensions 1028: 1021: 1014: 504:Art of East Asia 266: 203: 196: 185: 178: 174: 171: 165: 142: 141: 134: 127: 120: 116: 113: 107: 79: 78: 71: 60: 38: 37: 30: 4213: 4212: 4208: 4207: 4206: 4204: 4203: 4202: 4173: 4172: 4171: 4166: 4152:Painting portal 4143: 4050:sculpture parks 4003: 3962:Elements of art 3930:Cultural policy 3872: 3824:Timeline of art 3810: 3801:Sculpture trail 3680: 3674: 3599: 3516:Performance art 3398: 3389: 3316: 3315: 3314: 3299: 3298: 3294: 3287: 3003: 3001:Further reading 2993: 2980: 2972: 2971: 2964: 2960: 2952: 2948: 2938: 2937: 2930: 2913: 2899: 2898: 2894: 2884: 2883: 2879: 2870: 2866: 2857: 2855: 2845: 2844: 2840: 2831: 2829: 2819: 2818: 2814: 2805: 2803: 2794: 2793: 2789: 2774: 2773: 2769: 2751: 2747: 2741:Art and Culture 2735: 2731: 2720: 2716: 2691: 2687: 2678: 2674: 2665: 2661: 2623: 2619: 2612: 2599: 2598: 2594: 2588:Wayback Machine 2579: 2575: 2567: 2563: 2549: 2545: 2537: 2533: 2523:Pliny the Elder 2515: 2511: 2498: 2494: 2485: 2483: 2473: 2472: 2468: 2459: 2457: 2449: 2448: 2444: 2435: 2433: 2425: 2424: 2420: 2415: 2392:Duke University 2371:The arts portal 2369: 2362: 2355: 2350: 2348: 2345: 2307: 2292: 2230:Monk by the Sea 2187: 2151:panel paintings 2131: 2129:New materialism 2118: 2104:Rosalind Krauss 2043: 1979: 1973: 1961:Gustave Courbet 1932: 1849:'s work of art 1818: 1810:French feminism 1806:Feminist theory 1778:Jackson Pollock 1695: 1683:Sándor Ferenczi 1618: 1567: 1554: 1511:Moritz Thausing 1495: 1489: 1442: 1436:Jakob Rosenberg 1429: 1324: 1262:Anton von Maron 1251: 1235: 1203: 1188: 1181:Natural History 1176:Pliny the Elder 1172: 1167: 1134:critical theory 1078:two-dimensional 1032: 1003: 1002: 951: 943: 942: 898: 890: 889: 823: 813: 812: 641: 574: 549: 507: 499: 450: 445: 437: 436: 358:Pre-Raphaelites 279: 264: 204: 193: 192: 191: 186: 175: 169: 166: 158:help improve it 155: 143: 139: 128: 117: 111: 108: 93: 80: 76: 39: 35: 28: 17: 12: 11: 5: 4211: 4209: 4201: 4200: 4195: 4190: 4185: 4175: 4174: 4168: 4167: 4165: 4164: 4159: 4154: 4148: 4145: 4144: 4142: 4141: 4128: 4123: 4122: 4121: 4111: 4106: 4105: 4104: 4102:by nationality 4099: 4089: 4084: 4082:Modern artists 4079: 4074: 4069: 4064: 4059: 4058: 4057: 4052: 4047: 4042: 4032: 4027: 4025:Art techniques 4022: 4017: 4011: 4009: 4005: 4004: 4002: 4001: 3996: 3991: 3986: 3985: 3984: 3979: 3969: 3964: 3959: 3958: 3957: 3952: 3942: 3937: 3932: 3927: 3926: 3925: 3915: 3914: 3913: 3911:deaccessioning 3903: 3898: 3891: 3886: 3880: 3878: 3874: 3873: 3871: 3870: 3865: 3864: 3863: 3853: 3852: 3851: 3841: 3836: 3831: 3826: 3820: 3818: 3816:History of art 3812: 3811: 3809: 3808: 3806:Virtual museum 3803: 3798: 3793: 3788: 3783: 3778: 3773: 3768: 3763: 3758: 3753: 3748: 3747: 3746: 3736: 3735: 3734: 3724: 3723: 3722: 3712: 3711: 3710: 3703:Art exhibition 3700: 3695: 3690: 3684: 3682: 3676: 3675: 3673: 3672: 3671: 3670: 3660: 3655: 3650: 3645: 3640: 3635: 3634: 3633: 3628: 3618: 3613: 3607: 3605: 3601: 3600: 3598: 3597: 3592: 3587: 3585:Soft sculpture 3582: 3577: 3572: 3571: 3570: 3565: 3560: 3555: 3545: 3544: 3543: 3533: 3528: 3523: 3518: 3513: 3508: 3507: 3506: 3501: 3496: 3486: 3485: 3484: 3479: 3469: 3468: 3467: 3457: 3452: 3447: 3442: 3437: 3432: 3427: 3422: 3420:Conceptual art 3417: 3412: 3406: 3404: 3400: 3399: 3390: 3388: 3387: 3380: 3373: 3365: 3359: 3358: 3352: 3340: 3329: 3313: 3312: 3307: 3301: 3300: 3289: 3288: 3286: 3285:External links 3283: 3282: 3281: 3279:978-1408879689 3267: 3265:978-1337630702 3250: 3240: 3230: 3216: 3202: 3186: 3179: 3172: 3158: 3151: 3141: 3131: 3124: 3117: 3103: 3096: 3089: 3082: 3080:978-0937652596 3068: 3054: 3047: 3040: 3033: 3026: 3019: 3008: 3007: 3006:Listed by date 3002: 2999: 2998: 2997: 2992:978-0226571683 2991: 2970: 2969: 2958: 2946: 2928: 2892: 2889:, p. 128. 2877: 2864: 2852:dictionary.com 2838: 2826:dictionary.com 2812: 2787: 2776:Nochlin, Linda 2767: 2745: 2729: 2714: 2685: 2672: 2659: 2645:, assisted by 2639:James Strachey 2617: 2610: 2592: 2573: 2561: 2557:Victor H. Mair 2543: 2531: 2509: 2492: 2466: 2442: 2417: 2416: 2414: 2411: 2410: 2409: 2404: 2399: 2394: 2383: 2375: 2374: 2360: 2357:History portal 2344: 2341: 2306: 2303: 2291: 2288: 2257:Albrecht Dürer 2186: 2183: 2130: 2127: 2123:Museum studies 2117: 2114: 2062:Meyer Schapiro 2051:Roland Barthes 2042: 2039: 1972: 1969: 1949:vulgar Marxism 1945:Max Horkheimer 1917:vulgar Marxism 1895:Meyer Schapiro 1822:social history 1817: 1814: 1790:Julia Kristeva 1694: 1691: 1617: 1614: 1579:Erwin Panofsky 1553: 1550: 1534:Ernst Gombrich 1515:late antiquity 1507:Franz Wickhoff 1491:Main article: 1488: 1485: 1481:Albrecht Dürer 1469:Giorgio Vasari 1428: 1425: 1323: 1320: 1307:Schilder-boeck 1242:Giorgio Vasari 1234: 1231: 1225:formulated by 1171: 1168: 1166: 1163: 1122:iconographical 1034: 1033: 1031: 1030: 1023: 1016: 1008: 1005: 1004: 1001: 1000: 995: 990: 985: 980: 975: 974: 973: 963: 958: 952: 949: 948: 945: 944: 941: 940: 935: 930: 925: 920: 915: 910: 905: 899: 896: 895: 892: 891: 888: 887: 882: 877: 872: 867: 862: 857: 852: 847: 846: 845: 840: 830: 824: 819: 818: 815: 814: 811: 810: 805: 800: 795: 786:Art of Oceania 782: 781: 776: 771: 766: 753: 752: 747: 742: 737: 732: 719: 718: 713: 708: 703: 698: 693: 688: 683: 678: 673: 668: 663: 658: 653: 648: 634: 633: 628: 623: 618: 617: 616: 606: 601: 596: 591: 586: 581: 567: 566: 561: 556: 542: 541: 536: 531: 526: 525: 524: 519: 492: 491: 486: 481: 476: 471: 466: 461: 456: 446: 443: 442: 439: 438: 435: 434: 433: 432: 427: 422: 417: 407: 406: 405: 400: 395: 390: 385: 380: 375: 370: 360: 355: 350: 345: 340: 335: 330: 325: 324: 323: 313: 312: 311: 306: 301: 299:Pre-Romanesque 291: 286: 280: 277: 276: 273: 272: 270:History of art 263: 260: 206: 205: 188: 187: 146: 144: 137: 130: 129: 112:September 2021 90:of the subject 88:worldwide view 83: 81: 74: 69: 43: 42: 40: 33: 21:History of art 15: 13: 10: 9: 6: 4: 3: 2: 4210: 4199: 4196: 4194: 4191: 4189: 4188:Art criticism 4186: 4184: 4181: 4180: 4178: 4163: 4160: 4158: 4155: 4153: 4150: 4149: 4146: 4140: 4136: 4132: 4129: 4127: 4124: 4120: 4117: 4116: 4115: 4112: 4110: 4109:Photographers 4107: 4103: 4100: 4098: 4095: 4094: 4093: 4090: 4088: 4085: 4083: 4080: 4078: 4075: 4073: 4070: 4068: 4065: 4063: 4060: 4056: 4055:single artist 4053: 4051: 4048: 4046: 4043: 4041: 4038: 4037: 4036: 4033: 4031: 4030:Art movements 4028: 4026: 4023: 4021: 4018: 4016: 4015:Art magazines 4013: 4012: 4010: 4006: 4000: 3997: 3995: 3992: 3990: 3987: 3983: 3980: 3978: 3975: 3974: 3973: 3970: 3968: 3965: 3963: 3960: 3956: 3955:art valuation 3953: 3951: 3948: 3947: 3946: 3943: 3941: 3938: 3936: 3933: 3931: 3928: 3924: 3921: 3920: 3919: 3916: 3912: 3909: 3908: 3907: 3904: 3902: 3899: 3897: 3896: 3892: 3890: 3887: 3885: 3882: 3881: 3879: 3875: 3869: 3866: 3862: 3859: 3858: 3857: 3854: 3850: 3847: 3846: 3845: 3842: 3840: 3839:Art movements 3837: 3835: 3834:Art manifesto 3832: 3830: 3827: 3825: 3822: 3821: 3819: 3817: 3813: 3807: 3804: 3802: 3799: 3797: 3794: 3792: 3789: 3787: 3784: 3782: 3779: 3777: 3774: 3772: 3769: 3767: 3764: 3762: 3759: 3757: 3756:Arts festival 3754: 3752: 3749: 3745: 3742: 3741: 3740: 3737: 3733: 3730: 3729: 3728: 3725: 3721: 3718: 3717: 3716: 3713: 3709: 3706: 3705: 3704: 3701: 3699: 3696: 3694: 3691: 3689: 3686: 3685: 3683: 3677: 3669: 3666: 3665: 3664: 3661: 3659: 3656: 3654: 3651: 3649: 3646: 3644: 3641: 3639: 3636: 3632: 3629: 3627: 3624: 3623: 3622: 3619: 3617: 3614: 3612: 3609: 3608: 3606: 3602: 3596: 3595:Artwork title 3593: 3591: 3590:Stained glass 3588: 3586: 3583: 3581: 3578: 3576: 3573: 3569: 3566: 3564: 3561: 3559: 3556: 3554: 3551: 3550: 3549: 3546: 3542: 3539: 3538: 3537: 3534: 3532: 3529: 3527: 3524: 3522: 3519: 3517: 3514: 3512: 3509: 3505: 3502: 3500: 3497: 3495: 3492: 3491: 3490: 3489:New media art 3487: 3483: 3480: 3478: 3475: 3474: 3473: 3470: 3466: 3463: 3462: 3461: 3458: 3456: 3453: 3451: 3448: 3446: 3443: 3441: 3438: 3436: 3433: 3431: 3428: 3426: 3423: 3421: 3418: 3416: 3413: 3411: 3410:Appropriation 3408: 3407: 3405: 3401: 3397: 3393: 3386: 3381: 3379: 3374: 3372: 3367: 3366: 3363: 3356: 3353: 3350: 3345: 3341: 3338: 3334: 3330: 3327: 3322: 3318: 3317: 3311: 3308: 3306: 3303: 3302: 3297: 3292: 3284: 3280: 3276: 3272: 3268: 3266: 3262: 3258: 3256: 3251: 3248: 3244: 3241: 3238: 3234: 3231: 3229: 3225: 3221: 3217: 3215: 3214:1-4051-3461-5 3211: 3207: 3203: 3201: 3197: 3193: 3192: 3187: 3184: 3180: 3177: 3173: 3171: 3170:0-415-22868-9 3167: 3164:. 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J. 3137: 3127: 3120: 3106: 3099: 3092: 3085: 3071: 3057: 3050: 3043: 3036: 3029: 3022: 3015: 3012:Wölfflin, H. 2982: 2974: 2973: 2961: 2949: 2908: 2895: 2880: 2867: 2856:. Retrieved 2850: 2841: 2830:. Retrieved 2824: 2815: 2804:. Retrieved 2801:Art Herstory 2800: 2790: 2779: 2770: 2760: 2756: 2748: 2740: 2732: 2722: 2717: 2692: 2688: 2680: 2675: 2667: 2662: 2654: 2632: 2620: 2601: 2595: 2576: 2564: 2551: 2546: 2534: 2517: 2512: 2505:James Elkins 2500: 2495: 2484:. Retrieved 2478: 2469: 2458:. Retrieved 2455:Khan Academy 2454: 2445: 2434:. 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J. Clark 2336:Art History 2322:Art Journal 2221:Romanticism 2200:Russian art 1933: [ 1926:T. J. Clark 1903:Middle Ages 1863:avant-garde 1758:coincidence 1583:Aby Warburg 1568: 1900 1562:Aby Warburg 1542:Kunstwollen 1503:Alois Riegl 1460:Renaissance 1443: [ 1280:Commentarii 1252: 1567 1212:Renaissance 961:Art history 938:Digital art 928:Photography 918:Calligraphy 701:Anglo-Saxon 681:Hellenistic 626:Singaporean 388:Art Nouveau 348:Romanticism 316:Renaissance 284:Prehistoric 225:Art history 4198:Humanities 4177:Categories 4135:sculptures 3989:Provenance 3884:Art market 3791:Commission 3739:Art school 3727:Art museum 3693:Art colony 3681:and events 3541:street art 3536:Public art 3136:. 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