Art history - Knowledge (XXG)

1269: 2007:, 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. 1665: 1249: 2376: 222: 3344: 1604:. 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. 88: 1381:(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. 2064:'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. 3355: 1623:. 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. 47: 1555:, 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 3332: 2362: 151: 1341:(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 1568: 245:, 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. 269:

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

2244:(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 1607:

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.

2109:? 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. 1791:, 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. 2079:'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 1559:, 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. 1908:

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

1445:(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 1430:, 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 2251:

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.

1926:. 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 " 1115:. 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 2071:. 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, 2258: 1295: 2105:. 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 2091:

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

2289:, with an explicit mission of preserving the cultural patrimony owned by the government—regardless of what cultures created the art—and an often implicit mission to bolster that country's own 252:, which is concerned with establishing a relative artistic value for individual works with respect to others of comparable style or sanctioning an entire style or movement; and art theory or " 1468:

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

1547:, 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 1460:. 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 767: 1111:

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

1551:, 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 1140:. 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. 4149: 3928: 1482:, 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 2152:

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.

2933: 1524:, 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 1771:

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

2101:, 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 2014:

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

1999:" 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 2180:

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.

2018:, which referred specifically to the experience of women. Often, feminist art history offers a critical "re-reading" of the Western art canon, such as 3933: 2461: 3201: 1528:, which before them had been considered as a period of decline from the classical ideal. Riegl also contributed to the revaluation of the Baroque. 3641: 1850: 2169:

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.

2336:. Similar organizations exist in other parts of the world, as well as for specializations, such as 2245: 2240: 2214: 2165: 1978:. These books focused closely on the political and economic climates in which the art was created. 1720: 1640: 1168: 1137: 918: 2639: 1775:

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

4004: 3806: 3801: 3791: 3590: 3460: 3343: 2772: 2537: 2390: 2157: 2008: 1975: 1796: 1685: 1669: 1393: 1378: 1312: 1287: 808: 779: 420: 110: 66: 1532: 1217:), a Greek sculptor who was perhaps the first art historian. Pliny's work, while mainly an 4162: 3972: 3940: 3834: 3811: 3526: 2915: 2598: 2533: 2485: 2402: 2381: 2286: 2114: 1971: 1820: 1816: 1788: 1556: 1521: 1446: 1272: 1186: 1144: 1088: 711: 691: 624: 383: 368: 326: 294: 1884:, and seeing kitsch and art as opposites. Greenberg further claimed that avant-garde and 3248:

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

1958:. T. J. Clark was the first art historian writing from a Marxist perspective to abandon 1901: 3826: 3816: 3713: 3595: 3430: 2862: 2836: 2732:

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

1799:'s reading of French feminist psychoanalysis and in particular the writings of 3999: 3894: 3749: 3737: 3703: 3658: 3648: 3551: 3546: 3085:. Point of view series. Reston, Virginia: National Art Education Association. 2661: 2653: 2357: 2218: 2206: 1931: 1780: 1752: 1739:. Much of his life's work was spent exploring Eastern and Western philosophy, 1736: 1647:. In 1914 Freud published a psychoanalytical interpretation of Michelangelo's 1644: 1597: 1483: 1148: 885: 784: 745: 721: 676: 671: 656: 564: 544: 373: 319: 257: 2857: 1543:. A number of the most important twentieth-century art historians, including 3668: 3558: 3475: 3406: 3354: 2831: 2668:. London. Hogarth Press and Institute of Psycho-Analysis. 1st edition, 1955. 2145: 2119: 2093: 2057: 1885: 1877: 1841: 1756: 1748: 1744: 1728: 1708: 1681: 1392:, both of whom began to write on the history of art, and his account of the 1096: 913: 895: 860: 789: 750: 701: 574: 494: 331: 1465: 3331: 2262:

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

2976: 2808:"Feminist Art History Conference 2020 at American University" 2648:. Translated from the German under the general editorship of 2293:. The National Gallery of Art thus showcases art made in the 2192:

have played an increasing role in art historical literature.

1719:. Jung's approach to psychology emphasized understanding the 1512:. The first generation of the Vienna School was dominated by 2270:) attempt to distinguish Italian from German styles of art. 1783:

concept of drawing imagery from dreams and the unconscious.

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also applied psychoanalytic theory to art. Jung was a Swiss

3064:. University Park, Pa: Pennsylvania State University Press. 2540:, 1601 (first English translation). Retrieved 8 April 2023. 2308:

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

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Farewell to an Idea: Episodes from a History of Modernism

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

1657:). He published this work shortly after reading Vasari's 1351:

published an English translation in 1765 under the title

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

3141:. 2nd ed. Upper Saddle River, New Jersey: Prentice Hall. 3130:

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

168: 106: 2996:(2nd ed.). Chicago: University of Chicago Press. 2462:"What is art history and where is it going? (article)" 2324:. It organizes an annual conference and publishes the 1347:, published in 1755, shortly before he left for Rome ( 2401:, a database of notable art historians maintained by 1831:

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

1767:. Jung believed that many experiences perceived as 248:As a discipline, art history is distinguished from 3189:. 2 vols, Routledge Key Guides. London: Routledge. 2766:, "Preliminaries to a Possible Reading of Manet's 2221:were attempts to define that country's identity. 2087:. Schapiro combined this method with the work of 2042:The Expanding Discourse: Feminism and Art History 1588:in the 1920s. The most prominent among them were 1206:. From them it is possible to trace the ideas of 260:, which includes investigating the enigma of the 2992:Nelson, Robert S.; Shiff, Richard, eds. (2003). 2038:Feminism and Art History: Questioning the Litany 1880:standards from the decline of taste involved in 1119:. Realism and abstraction exist on a continuum. 3879:Timeline of 20th century printmaking in America 2297:, but also owns objects from across the world. 3151:, 1968–2000. Malden, Massachusetts: Blackwell. 3099:. Englewood Cliffs, New Jersey: Prentice Hall. 2213:is an especially good example of this, as the 1779:in the 1940s and 1950s. His work inspired the 3387: 3111:The Penguin concise dictionary of art history 3050:. Ithaca, New York: Cornell University Press. 2177:, and many types of archaeological artworks. 1896:' to describe this consumerism, although its 1230:themselves. The artists are described in the 1030: 95:The examples and perspective in this article 8: 1962:. He wrote Marxist art histories of several 1356: 1342: 3196:. 2nd ed. Malden, Massachusetts: Blackwell. 3048:Panofsky and the foundations of art history 2951: 2897: 2615:(3rd ed.). : Oxford University Press. 1997:Why Have There Been No Great Women Artists? 1872:". In the essay Greenberg claimed that the 75:Learn how and when to remove these messages 3394: 3380: 3372: 3192:Harrison, Charles, and Paul Wood. (2003). 3081:Fitzpatrick, Virginia L. N. V. D. (1992). 2932:: CS1 maint: location missing publisher ( 2060:is concerned with how meaning is created. 1892:. Greenberg appropriated the German word ' 1037: 1023: 276: 3104:The methodologies of art: an introduction 3039:Arntzen, E., & Rainwater, R. (1980). 2964: 2692:Archetypes and the Collective Unconscious 2266:'s writings (especially his monograph on 1715:, an influential thinker, and founder of 209:Learn how and when to remove this message 191:Learn how and when to remove this message 133:Learn how and when to remove this message 3270:16th edition. Boston: Cengage Learning. 3205:. Chicago: University of Chicago Press. 3202:The Invention of Art: A Cultural History 3083:Art History: A Contextual Inquiry Course 3043:. Chicago: American Library Association. 2945: 2943: 1807:, as with Rosalind Krauss's readings of 3067:Kemal, Salim, and Ivan Gaskell (1991). 3057:. Toronto: University of Toronto Press. 2429: 1619:. Panofsky settled in Princeton at the 1539:, Hans Tietze, Karl Maria Swoboda, and 279: 3168:. Cambridge, Massachusetts: MIT Press. 3041:Guide to the literature of art history 2925: 2896:Bann, S. "Meaning/Interpretation". In 2882:All ideas in this paragraph reference 1498:Riegl, Wickhoff, and the Vienna School 1181:Pliny the Elder and ancient precedents 3149:Feminism – Art – Theory: An Anthology 2883: 7: 1202:–79), concerning the development of 3166:Neo-Avantgarde and Culture Industry 3161:. New Haven: Yale University Press. 2570:, p. 51. Retrieved January 25, 2010 3978:Index of painting-related articles 3284:. London and New York: Bloomsbury 1358:Geschichte der Kunst des Altertums 1124:non-representational or a work of 1052:Art historians employ a number of 25: 3282:Creation. Art Since the Beginning 3062:Principles of art history writing 2705:Jackson Pollock: An American Saga 56:This article has multiple issues. 3366:Art History Resources on the Web 3353: 3342: 3330: 3215:Pollock, Griselda (ed.) (2006). 2374: 2360: 2028:. Two pioneers of the field are 1723:through exploring the worlds of 149: 86: 45: 2666:Totem And Taboo and Other Works 1862:Shock Workers from Dnieprostroi 1635:published a book on the artist 1438:Wölfflin and stylistic analysis 1428:Geschichte der bildenden Künste 1384:Winckelmann was read avidly by 1244:Vasari and artists' biographies 64:or discuss these issues on the 3266:Gardner's Art Through the Ages 3113:. New York: Penguin Reference. 3097:Critical Theory of Art History 3071:. Cambridge University Press. 3055:Art history: its use and abuse 2994:Critical Terms for Art History 1988:Women in the art history field 1410:in 1790, and was furthered by 1: 3171:Mansfield, Elizabeth (2002). 3034:The philosophy of art history 2512:Art History versus Aesthetics 2486:"What is the History of Art?" 2342:Association of Art Historians 2127:Museum studies and collecting 2005:Second-wave feminist movement 1668:Group photo 1909 in front of 1575: 1333:Winckelmann and art criticism 1259: 1211: 1196: 1176:Timeline of prominent methods 3917:Museum collection management 3840:Art history (academic study) 3719:alternative exhibition space 3321:Resources in other libraries 3217:Psychoanalysis and the Image 3137:Minor, Vernon Hyde. (2001). 3095:Minor, Vernon Hyde. (1994). 2738:. Retrieved 29 October 2018. 2613:The Oxford Dictionary of Art 2550:Dictionary of Art Historians 2518:(New York: Routledge, 2006). 2442:Yale University Press London 2398:Dictionary of Art Historians 1621:Institute for Advanced Study 1504:Vienna School of Art History 1204:Greek sculpture and painting 36:Art history (disambiguation) 4078:Colossal sculptures in situ 3782:Artist-in-residence program 3164:Buchloh, Benjamin. (2001). 3069:The Language of Art History 2664:. Volume XIII (1913–1914): 2640:"The Moses of Michelangelo" 1363:History of Art in Antiquity 1299:, who wrote the first true 1056:in their research into the 109:, discuss the issue on the 4225: 4088:Contemporary art galleries 3983:Outline of the visual arts 3231:The Shaping of Art History 2922:. Manchester. p. 213. 2601:retrieved January 25, 2010 2582:retrieved January 25, 2010 2552:Retrieved January 25, 2010 2316:Professional organizations 2279:Victoria and Albert Museum 1985: 1655:Der Moses des Michelangelo 1501: 1386:Johann Wolfgang von Goethe 1339:Johann Joachim Winckelmann 1279:Johann Joachim Winckelmann 1243: 1233:Six Principles of Painting 29: 4158: 3316:Resources in your library 3280:John-Paul Stonard (2021) 3229:Emison, Patricia (2008). 3106:. New York: IconEditions. 2952:Nelson & Shiff (2003) 2898:Nelson & Shiff (2003) 2580:Artnet artist biographies 2529:The Historie of the World 2418:Theosophy and visual arts 2025:Les Demoiselles d'Avignon 1924:The Social History of Art 1876:arose in order to defend 1836:status quo seem natural ( 1819:written in the fields of 1612:, where Panofsky taught. 1396:occasioned a response by 4142:Most expensive paintings 3929:Conservation-restoration 3731:Contemporary art gallery 3134:. Malden, MA: Blackwell. 2950:Potts, Alex. "Sign". In 2438:"An Introduction to Art" 2190:object-oriented ontology 2069:collective consciousness 2022:'s re-interpretation of 1916:and early Renaissance. 1627:Freud and psychoanalysis 1563:Panofsky and iconography 1143:Many art historians use 1060:and history of objects. 4150:works by living artists 3912:Classificatory disputes 3263:Kleiner, F. S. (2018). 3254:Gauvin Alexander Bailey 3199:Shiner, Larry. (2003). 3185:Murray, Chris. (2003). 3053:Johnson, W. M. (1988). 3029:. : Dover Publications. 2977:College Art Association 2858:"Definition of connote" 2806:wpengine (2019-09-02). 2322:College Art Association 2283:National Gallery of Art 2196:Nationalist art history 2171:illuminated manuscripts 2001:College Art Association 1845:Marcel Duchamp and the 1777:Abstract expressionists 3358:Quotations related to 3118:Differencing the Canon 2832:"Definition of denote" 2652:in collaboration with 2611:Chilvers, Ian (2005). 2236:Caspar David Friedrich 2089:Charles Sanders Peirce 1941:Otto Karl Werckmeister 1870:Avant-Garde and Kitsch 1773:collective unconscious 1761:collective unconscious 1696: 1678:Granville Stanley Hall 1581: 1571:Photographer unknown, 1424:Niederländische Briefe 1416:Lectures on Aesthetics 1357: 1343: 1283: 1265: 459:Art of the Middle East 232: 171:by rewriting it in an 34:. For other uses, see 3787:Artist-run initiative 3674:Visual arts education 3219:. Oxford: Blackwell. 3139:Art history's history 3116:Pollock, G., (1999). 3046:Holly, M. A. (1984). 3025:(1915, trans. 1932). 2965:Hatt & Klonk 2006 2338:architectural history 2207:love of one's country 2052:Barthes and semiotics 2016:feminist art movement 1986:Further information: 1890:capitalist propaganda 1813:Jean-François Lyotard 1717:analytical psychology 1667: 1610:University of Hamburg 1570: 1271: 1251: 1091:picture plane or the 582:Art of Southeast Asia 289:Periods and movements 224: 4083:Contemporary artists 3946:Destination painting 3743:Single-artist museum 3632:Conservator-restorer 3339:at Wikimedia Commons 3109:Frazier, N. (1999). 3060:Carrier, D. (1991). 2754:, Beacon Press, 1961 2424:Notes and references 2203:national superiority 2186:actor–network theory 2132:viewers and owners. 2036:. Their anthologies 1982:Feminist art history 1787:part of art-making. 1763:, and his theory of 1537:Julius von Schlosser 1510:University of Vienna 1432:Franz Theodor Kugler 1422:'s work. Schnaase's 1407:Critique of Judgment 1323:Joachim von Sandrart 1208:Xenokrates of Sicyon 1109:non-representational 115:create a new article 107:improve this article 97:may not represent a 18:Feminist art history 4073:Art reference books 3867:History of painting 3451:Fine-art photograph 3268:: A Global History. 3260:. Farnham: Ashgate. 3032:Hauser, A. (1959). 2967:, pp. 205–208. 2776:21.1 (1980): 18–42. 2714:Gregory White Smith 2301:Divisions by period 2246:Hudson River School 2215:Russian avant-garde 2166:radio-carbon dating 1970:artists, including 1704:Jung and archetypes 1520:, both students of 768:Art of the Americas 507:Art of Central Asia 4168:Visual arts portal 4098:National galleries 3951:Eclecticism in art 3906:Catalogue raisonné 3777:Artist cooperative 3187:Key Writers on Art 3102:Adams, L. (1996). 3036:. New York: Knopf. 2597:2010-12-05 at the 2225:Napoleon Bonaparte 2175:Persian miniatures 2085:three-quarter view 1805:Bracha L. Ettinger 1697: 1582: 1451:Frida Schottmüller 1390:Friedrich Schiller 1284: 1266: 394:Post-Impressionism 233: 173:encyclopedic style 160:is written like a 4204:Fields of history 4181: 4180: 3772:Artist collective 3586:Site-specific art 3436:Cultural artifact 3335:Media related to 3302:Library resources 3244:Charlene Spretnak 3239:978-0-271-03306-8 3211:978-0-226-75342-3 2748:Clement Greenberg 2291:cultural heritage 2264:Heinrich Wölfflin 2107:Leonardo da Vinci 1952:Theodor W. Adorno 1866:Clement Greenberg 1827:Marx and ideology 1637:Leonardo da Vinci 1617:Warburg Institute 1541:Josef Strzygowski 1443:Heinrich Wölfflin 1337:Scholars such as 1327:Teutsche Akademie 1149:literary scholars 1047: 1046: 557:Art of South Asia 266:historical method 254:philosophy of art 219: 218: 211: 201: 200: 193: 143: 142: 135: 117:, as appropriate. 79: 16:(Redirected from 4216: 4137:Stolen paintings 4005:Sociology of art 3956:Economics of art 3807:Sculpture garden 3792:Artist-run space 3591:Social sculpture 3461:Installation art 3396: 3389: 3382: 3373: 3357: 3346: 3334: 3145:Robinson, Hilary 3007: 2979: 2974: 2968: 2962: 2956: 2955: 2947: 2938: 2937: 2931: 2923: 2916:Klonk, Charlotte 2908: 2902: 2901: 2893: 2887: 2880: 2874: 2873: 2871: 2870: 2854: 2848: 2847: 2845: 2844: 2828: 2822: 2821: 2819: 2818: 2803: 2797: 2796: 2783: 2777: 2761: 2755: 2745: 2739: 2730: 2724: 2701: 2695: 2688: 2682: 2675: 2669: 2633: 2627: 2626: 2608: 2602: 2589: 2583: 2577: 2571: 2559: 2553: 2547: 2541: 2538:Philemon Holland 2536:, translated by 2525: 2519: 2508: 2502: 2501: 2499: 2498: 2482: 2476: 2475: 2473: 2472: 2458: 2452: 2451: 2449: 2448: 2434: 2391:Bildwissenschaft 2384: 2379: 2378: 2370: 2365: 2364: 2363: 2287:national gallery 2158:Dendrochronology 2097:. By seeing the 2009:Griselda Pollock 1950:, David Kunzle, 1949: 1882:consumer society 1797:Griselda Pollock 1686:Abraham A. Brill 1670:Clark University 1580: 1577: 1459: 1379:Jacob Burckhardt 1360: 1346: 1313:Karel van Mander 1288:Lorenzo Ghiberti 1264: 1261: 1216: 1213: 1201: 1198: 1105:representational 1093:three dimensions 1039: 1032: 1025: 515:Art of East Asia 277: 214: 207: 196: 189: 185: 182: 176: 153: 152: 145: 138: 131: 127: 124: 118: 90: 89: 82: 71: 49: 48: 41: 21: 4224: 4223: 4219: 4218: 4217: 4215: 4214: 4213: 4184: 4183: 4182: 4177: 4163:Painting portal 4154: 4061:sculpture parks 4014: 3973:Elements of art 3941:Cultural policy 3883: 3835:Timeline of art 3821: 3812:Sculpture trail 3691: 3685: 3610: 3527:Performance art 3409: 3400: 3327: 3326: 3325: 3310: 3309: 3305: 3298: 3014: 3012:Further reading 3004: 2991: 2983: 2982: 2975: 2971: 2963: 2959: 2949: 2948: 2941: 2924: 2910: 2909: 2905: 2895: 2894: 2890: 2881: 2877: 2868: 2866: 2856: 2855: 2851: 2842: 2840: 2830: 2829: 2825: 2816: 2814: 2805: 2804: 2800: 2785: 2784: 2780: 2762: 2758: 2752:Art and Culture 2746: 2742: 2731: 2727: 2702: 2698: 2689: 2685: 2676: 2672: 2634: 2630: 2623: 2610: 2609: 2605: 2599:Wayback Machine 2590: 2586: 2578: 2574: 2560: 2556: 2548: 2544: 2534:Pliny the Elder 2526: 2522: 2509: 2505: 2496: 2494: 2484: 2483: 2479: 2470: 2468: 2460: 2459: 2455: 2446: 2444: 2436: 2435: 2431: 2426: 2403:Duke University 2382:The arts portal 2380: 2373: 2366: 2361: 2359: 2356: 2318: 2303: 2241:Monk by the Sea 2198: 2162:panel paintings 2142: 2140:New materialism 2129: 2115:Rosalind Krauss 2054: 1990: 1984: 1972:Gustave Courbet 1943: 1860:'s work of art 1829: 1821:French feminism 1817:Feminist theory 1789:Jackson Pollock 1706: 1694:Sándor Ferenczi 1629: 1578: 1565: 1522:Moritz Thausing 1506: 1500: 1453: 1447:Jakob Rosenberg 1440: 1335: 1273:Anton von Maron 1262: 1246: 1214: 1199: 1192:Natural History 1187:Pliny the Elder 1183: 1178: 1145:critical theory 1089:two-dimensional 1043: 1014: 1013: 962: 954: 953: 909: 901: 900: 834: 824: 823: 652: 585: 560: 518: 510: 461: 456: 448: 447: 369:Pre-Raphaelites 290: 275: 215: 204: 203: 202: 197: 186: 180: 177: 169:help improve it 166: 154: 150: 139: 128: 122: 119: 104: 91: 87: 50: 46: 39: 28: 23: 22: 15: 12: 11: 5: 4222: 4220: 4212: 4211: 4206: 4201: 4196: 4186: 4185: 4179: 4178: 4176: 4175: 4170: 4165: 4159: 4156: 4155: 4153: 4152: 4139: 4134: 4133: 4132: 4122: 4117: 4116: 4115: 4113:by nationality 4110: 4100: 4095: 4093:Modern artists 4090: 4085: 4080: 4075: 4070: 4069: 4068: 4063: 4058: 4053: 4043: 4038: 4036:Art techniques 4033: 4028: 4022: 4020: 4016: 4015: 4013: 4012: 4007: 4002: 3997: 3996: 3995: 3990: 3980: 3975: 3970: 3969: 3968: 3963: 3953: 3948: 3943: 3938: 3937: 3936: 3926: 3925: 3924: 3922:deaccessioning 3914: 3909: 3902: 3897: 3891: 3889: 3885: 3884: 3882: 3881: 3876: 3875: 3874: 3864: 3863: 3862: 3852: 3847: 3842: 3837: 3831: 3829: 3827:History of art 3823: 3822: 3820: 3819: 3817:Virtual museum 3814: 3809: 3804: 3799: 3794: 3789: 3784: 3779: 3774: 3769: 3764: 3759: 3758: 3757: 3747: 3746: 3745: 3735: 3734: 3733: 3723: 3722: 3721: 3714:Art exhibition 3711: 3706: 3701: 3695: 3693: 3687: 3686: 3684: 3683: 3682: 3681: 3671: 3666: 3661: 3656: 3651: 3646: 3645: 3644: 3639: 3629: 3624: 3618: 3616: 3612: 3611: 3609: 3608: 3603: 3598: 3596:Soft sculpture 3593: 3588: 3583: 3582: 3581: 3576: 3571: 3566: 3556: 3555: 3554: 3544: 3539: 3534: 3529: 3524: 3519: 3518: 3517: 3512: 3507: 3497: 3496: 3495: 3490: 3480: 3479: 3478: 3468: 3463: 3458: 3453: 3448: 3443: 3438: 3433: 3431:Conceptual art 3428: 3423: 3417: 3415: 3411: 3410: 3401: 3399: 3398: 3391: 3384: 3376: 3370: 3369: 3363: 3351: 3340: 3324: 3323: 3318: 3312: 3311: 3300: 3299: 3297: 3296:External links 3294: 3293: 3292: 3290:978-1408879689 3278: 3276:978-1337630702 3261: 3251: 3241: 3227: 3213: 3197: 3190: 3183: 3169: 3162: 3152: 3142: 3135: 3128: 3114: 3107: 3100: 3093: 3091:978-0937652596 3079: 3065: 3058: 3051: 3044: 3037: 3030: 3019: 3018: 3017:Listed by date 3013: 3010: 3009: 3008: 3003:978-0226571683 3002: 2981: 2980: 2969: 2957: 2939: 2903: 2900:, p. 128. 2888: 2875: 2863:dictionary.com 2849: 2837:dictionary.com 2823: 2798: 2787:Nochlin, Linda 2778: 2756: 2740: 2725: 2696: 2683: 2670: 2656:, assisted by 2650:James Strachey 2628: 2621: 2603: 2584: 2572: 2568:Victor H. Mair 2554: 2542: 2520: 2503: 2477: 2453: 2428: 2427: 2425: 2422: 2421: 2420: 2415: 2410: 2405: 2394: 2386: 2385: 2371: 2368:History portal 2355: 2352: 2317: 2314: 2302: 2299: 2268:Albrecht Dürer 2197: 2194: 2141: 2138: 2134:Museum studies 2128: 2125: 2073:Meyer Schapiro 2062:Roland Barthes 2053: 2050: 1983: 1980: 1960:vulgar Marxism 1956:Max Horkheimer 1928:vulgar Marxism 1906:Meyer Schapiro 1833:social history 1828: 1825: 1801:Julia Kristeva 1705: 1702: 1628: 1625: 1590:Erwin Panofsky 1564: 1561: 1545:Ernst Gombrich 1526:late antiquity 1518:Franz Wickhoff 1502:Main article: 1499: 1496: 1492:Albrecht Dürer 1480:Giorgio Vasari 1439: 1436: 1334: 1331: 1318:Schilder-boeck 1253:Giorgio Vasari 1245: 1242: 1236:formulated by 1182: 1179: 1177: 1174: 1133:iconographical 1045: 1044: 1042: 1041: 1034: 1027: 1019: 1016: 1015: 1012: 1011: 1006: 1001: 996: 991: 986: 985: 984: 974: 969: 963: 960: 959: 956: 955: 952: 951: 946: 941: 936: 931: 926: 921: 916: 910: 907: 906: 903: 902: 899: 898: 893: 888: 883: 878: 873: 868: 863: 858: 857: 856: 851: 841: 835: 830: 829: 826: 825: 822: 821: 816: 811: 806: 797:Art of Oceania 793: 792: 787: 782: 777: 764: 763: 758: 753: 748: 743: 730: 729: 724: 719: 714: 709: 704: 699: 694: 689: 684: 679: 674: 669: 664: 659: 645: 644: 639: 634: 629: 628: 627: 617: 612: 607: 602: 597: 592: 578: 577: 572: 567: 553: 552: 547: 542: 537: 536: 535: 530: 503: 502: 497: 492: 487: 482: 477: 472: 467: 457: 454: 453: 450: 449: 446: 445: 444: 443: 438: 433: 428: 418: 417: 416: 411: 406: 401: 396: 391: 386: 381: 371: 366: 361: 356: 351: 346: 341: 336: 335: 334: 324: 323: 322: 317: 312: 310:Pre-Romanesque 302: 297: 291: 288: 287: 284: 283: 281:History of art 274: 271: 217: 216: 199: 198: 157: 155: 148: 141: 140: 123:September 2021 101:of the subject 99:worldwide view 94: 92: 85: 80: 54: 53: 51: 44: 32:History of art 26: 24: 14: 13: 10: 9: 6: 4: 3: 2: 4221: 4210: 4207: 4205: 4202: 4200: 4199:Art criticism 4197: 4195: 4192: 4191: 4189: 4174: 4171: 4169: 4166: 4164: 4161: 4160: 4157: 4151: 4147: 4143: 4140: 4138: 4135: 4131: 4128: 4127: 4126: 4123: 4121: 4120:Photographers 4118: 4114: 4111: 4109: 4106: 4105: 4104: 4101: 4099: 4096: 4094: 4091: 4089: 4086: 4084: 4081: 4079: 4076: 4074: 4071: 4067: 4066:single artist 4064: 4062: 4059: 4057: 4054: 4052: 4049: 4048: 4047: 4044: 4042: 4041:Art movements 4039: 4037: 4034: 4032: 4029: 4027: 4026:Art magazines 4024: 4023: 4021: 4017: 4011: 4008: 4006: 4003: 4001: 3998: 3994: 3991: 3989: 3986: 3985: 3984: 3981: 3979: 3976: 3974: 3971: 3967: 3966:art valuation 3964: 3962: 3959: 3958: 3957: 3954: 3952: 3949: 3947: 3944: 3942: 3939: 3935: 3932: 3931: 3930: 3927: 3923: 3920: 3919: 3918: 3915: 3913: 3910: 3908: 3907: 3903: 3901: 3898: 3896: 3893: 3892: 3890: 3886: 3880: 3877: 3873: 3870: 3869: 3868: 3865: 3861: 3858: 3857: 3856: 3853: 3851: 3850:Art movements 3848: 3846: 3845:Art manifesto 3843: 3841: 3838: 3836: 3833: 3832: 3830: 3828: 3824: 3818: 3815: 3813: 3810: 3808: 3805: 3803: 3800: 3798: 3795: 3793: 3790: 3788: 3785: 3783: 3780: 3778: 3775: 3773: 3770: 3768: 3767:Arts festival 3765: 3763: 3760: 3756: 3753: 3752: 3751: 3748: 3744: 3741: 3740: 3739: 3736: 3732: 3729: 3728: 3727: 3724: 3720: 3717: 3716: 3715: 3712: 3710: 3707: 3705: 3702: 3700: 3697: 3696: 3694: 3688: 3680: 3677: 3676: 3675: 3672: 3670: 3667: 3665: 3662: 3660: 3657: 3655: 3652: 3650: 3647: 3643: 3640: 3638: 3635: 3634: 3633: 3630: 3628: 3625: 3623: 3620: 3619: 3617: 3613: 3607: 3606:Artwork title 3604: 3602: 3601:Stained glass 3599: 3597: 3594: 3592: 3589: 3587: 3584: 3580: 3577: 3575: 3572: 3570: 3567: 3565: 3562: 3561: 3560: 3557: 3553: 3550: 3549: 3548: 3545: 3543: 3540: 3538: 3535: 3533: 3530: 3528: 3525: 3523: 3520: 3516: 3513: 3511: 3508: 3506: 3503: 3502: 3501: 3500:New media art 3498: 3494: 3491: 3489: 3486: 3485: 3484: 3481: 3477: 3474: 3473: 3472: 3469: 3467: 3464: 3462: 3459: 3457: 3454: 3452: 3449: 3447: 3444: 3442: 3439: 3437: 3434: 3432: 3429: 3427: 3424: 3422: 3421:Appropriation 3419: 3418: 3416: 3412: 3408: 3404: 3397: 3392: 3390: 3385: 3383: 3378: 3377: 3374: 3367: 3364: 3361: 3356: 3352: 3349: 3345: 3341: 3338: 3333: 3329: 3328: 3322: 3319: 3317: 3314: 3313: 3308: 3303: 3295: 3291: 3287: 3283: 3279: 3277: 3273: 3269: 3267: 3262: 3259: 3255: 3252: 3249: 3245: 3242: 3240: 3236: 3232: 3228: 3226: 3225:1-4051-3461-5 3222: 3218: 3214: 3212: 3208: 3204: 3203: 3198: 3195: 3191: 3188: 3184: 3182: 3181:0-415-22868-9 3178: 3175:. 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J. 3148: 3138: 3131: 3117: 3110: 3103: 3096: 3082: 3068: 3061: 3054: 3047: 3040: 3033: 3026: 3023:Wölfflin, H. 2993: 2985: 2984: 2972: 2960: 2919: 2906: 2891: 2878: 2867:. Retrieved 2861: 2852: 2841:. Retrieved 2835: 2826: 2815:. Retrieved 2812:Art Herstory 2811: 2801: 2790: 2781: 2771: 2767: 2759: 2751: 2743: 2733: 2728: 2703: 2699: 2691: 2686: 2678: 2673: 2665: 2643: 2631: 2612: 2606: 2587: 2575: 2562: 2557: 2545: 2528: 2523: 2516:James Elkins 2511: 2506: 2495:. Retrieved 2489: 2480: 2469:. Retrieved 2466:Khan Academy 2465: 2456: 2445:. 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J. Clark 2347:Art History 2333:Art Journal 2232:Romanticism 2211:Russian art 1944: [ 1937:T. J. Clark 1914:Middle Ages 1874:avant-garde 1769:coincidence 1594:Aby Warburg 1579: 1900 1573:Aby Warburg 1553:Kunstwollen 1514:Alois Riegl 1471:Renaissance 1454: [ 1291:Commentarii 1263: 1567 1223:Renaissance 972:Art history 949:Digital art 939:Photography 929:Calligraphy 712:Anglo-Saxon 692:Hellenistic 637:Singaporean 399:Art Nouveau 359:Romanticism 327:Renaissance 295:Prehistoric 236:Art history 4209:Humanities 4188:Categories 4146:sculptures 4000:Provenance 3895:Art market 3802:Commission 3750:Art school 3738:Art museum 3704:Art colony 3692:and events 3552:street art 3547:Public art 3147:. (2001). 2884:Potts 2003 2869:2021-02-18 2843:2021-02-18 2817:2021-02-18 2662:Alan Tyson 2654:Anna Freud 2622:0198604769 2497:2017-06-23 2471:2020-04-19 2447:2024-07-12 2281:, and the 2219:Soviet art 2217:and later 1995:'s essay " 1781:surrealist 1753:literature 1737:philosophy 1645:homosexual 1598:Fritz Saxl 1533:Max Dvořák 1484:nationhood 1097:sculptural 1009:Naturalist 989:Figurative 908:Techniques 876:Manichaean 854:Protestant 804:Australian 600:Vietnamese 590:Indonesian 495:Phoenician 441:Minimalism 426:Postmodern 389:Decorative 354:Revivalism 315:Romanesque 258:aesthetics 61:improve it 4125:Sculptors 4031:Art media 3993:sculpture 3934:paintings 3855:Criticism 3637:paintings 3627:Collector 3559:Sculpture 3476:bricolage 3407:art world 2928:cite book 2146:infra-red 2120:Mieke Bal 2103:Mona Lisa 2099:Mona Lisa 2094:Mona Lisa 2075:borrowed 2058:semiotics 1886:Modernist 1878:aesthetic 1757:archetype 1749:sociology 1745:astrology 1729:mythology 1709:Carl Jung 1682:Carl Jung 1557:formalism 1113:realistic 1066:symbolism 1004:Narrative 914:Sculpture 844:Christian 832:Religions 707:Byzantine 620:Cambodian 615:Malaysian 570:Bhutanese 528:Hong Kong 384:Symbolism 332:Mannerism 228:, at the 111:talk page 67:talk page 4103:Painters 3988:painting 3900:The arts 3860:feminist 3797:Biennale 3537:Portrait 3522:Painting 3493:graffiti 3446:Fine art 3405:and the 3246:(2014), 3157:(2001). 2918:(2006). 2595:Archived 2413:Rock art 2408:Fine art 2354:See also 2230:Western 2154:pigments 2077:Saussure 1838:ideology 1733:religion 1731:, world 1153:Feminist 1117:abstract 1058:ontology 994:Funerary 967:Abstract 919:Painting 849:Catholic 839:Buddhist 814:Hawaiian 717:Ottonian 682:Scythian 667:Etruscan 662:Cycladic 642:Bruneian 595:Filipino 540:Japanese 470:Egyptian 305:Medieval 105:You may 4108:by name 4051:largest 3888:Related 3872:outline 3654:Curator 3642:frescos 3579:tallest 3564:carving 3515:virtual 3510:digital 3505:history 3441:Drawing 3426:Collage 3414:Artwork 3256:(2014) 2986:Sources 2792:ARTnews 2768:Olympia 2310:periods 2083:, or a 2081:profile 1968:realist 1856:Artist 1741:alchemy 1727:, art, 1586:Hamburg 1475:Baroque 1466:façades 1398:Lessing 1367:Baroque 1355:), and 1301:history 1227:Apelles 1157:Marxist 1085:texture 1054:methods 924:Pottery 866:Islamic 697:Iberian 610:Myanmar 550:Tibetan 523:Chinese 500:Ottoman 485:Arabian 480:Persian 475:Hittite 455:Regions 404:Fauvism 364:Realism 339:Baroque 300:Ancient 262:sublime 243:culture 167:Please 4130:female 3755:Europe 3690:Places 3679:Europe 3669:Patron 3659:Dealer 3649:Critic 3622:Artist 3574:statue 3569:relief 3488:fresco 3304:about 3288: 3274: 3237: 3223: 3209: 3179: 3124: 3089: 3075: 3000: 2773:Screen 2720: 2619: 2514:, ed. 2277:, the 2275:Louvre 2254:Vasari 2188:, and 2044:, and 1954:, and 1894:kitsch 1759:, the 1725:dreams 1721:psyche 1641:psyche 1488:German 1371:Rococo 1349:Fuseli 1282:, 1768 1238:Xie He 1138:motifs 886:Taoist 819:Papuan 785:Muisca 746:Yoruba 722:Viking 677:Celtic 672:Dacian 657:Minoan 565:Indian 545:Korean 533:Taiwan 414:Cubism 374:Modern 344:Rococo 320:Gothic 230:Louvre 4019:Lists 4010:Style 3664:Model 3615:Roles 3483:Mural 2566:, by 2150:x-ray 1948:] 1795:With 1659:Lives 1650:Moses 1458:] 1412:Hegel 1165:queer 1081:color 1077:shape 999:Naïve 961:Types 896:Vodun 891:Vodou 861:Hindu 790:Inuit 751:Benin 702:Roman 687:Greek 625:Khmer 575:Newar 113:, or 3286:ISBN 3272:ISBN 3235:ISBN 3221:ISBN 3207:ISBN 3177:ISBN 3122:ISBN 3087:ISBN 3073:ISBN 2998:ISBN 2934:link 2718:ISBN 2712:and 2660:and 2617:ISBN 2510:Cf: 2330:and 2238:'s, 2173:and 2164:and 2160:for 2148:and 2032:and 1974:and 1966:and 1847:Dada 1811:and 1803:and 1735:and 1600:and 1516:and 1473:and 1449:and 1388:and 1369:and 1321:and 1167:and 1073:line 982:List 881:Sikh 871:Jain 780:Maya 761:Luba 756:Kuba 741:Igbo 605:Thai 2770:", 2677:In 2532:by 2256:'s 2205:or 1840:). 1414:'s 1404:'s 1325:'s 1315:'s 1189:'s 1131:An 1107:or 1099:or 1095:of 727:Rus 632:Lao 436:Pop 4190:: 4148:, 4144:, 2942:^ 2930:}} 2926:{{ 2914:; 2860:. 2834:. 2810:. 2750:, 2708:, 2642:, 2638:. 2488:. 2464:. 2440:. 2350:. 2209:. 2184:, 2040:, 1946:de 1939:, 1930:". 1747:, 1743:, 1692:, 1688:, 1680:, 1676:, 1596:, 1592:, 1576:c. 1535:, 1494:. 1456:de 1434:. 1377:. 1308:. 1275:, 1260:c. 1255:, 1240:. 1212:c. 1197:c. 1163:, 1159:, 1155:, 1128:. 1083:, 1079:, 1075:, 70:. 3395:e 3388:t 3381:v 3250:. 3006:. 2936:) 2872:. 2846:. 2820:. 2795:. 2694:. 2625:. 2500:. 2474:. 2450:. 1653:( 1361:( 1210:( 1195:( 1038:e 1031:t 1024:v 212:) 206:( 194:) 188:( 183:) 179:( 175:. 136:) 130:( 125:) 121:( 103:. 77:) 73:( 38:. 20:)

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