648:"Manner" is a related term, often used for what is in effect a sub-division of a style, perhaps focused on particular points of style or technique. While many elements of period style can be reduced to characteristic forms or shapes, that can adequately be represented in simple line-drawn diagrams, "manner" is more often used to mean the overall style and atmosphere of a work, especially complex works such as paintings, that cannot so easily be subject to precise analysis. It is a somewhat outdated term in academic art history, avoided because it is imprecise. When used it is often in the context of imitations of the individual style of an artist, and it is one of the hierarchy of discreet or diplomatic terms used in the
447:
546:
685:
780:
49:
820:"), preferring an attractive or expressive overall depiction. More technically, it has been defined as "the decorative generalization of figures and objects by means of various conventional techniques, including the simplification of line, form, and relationships of space and color", and observed that "tylized art reduces visual perception to constructs of pattern in line, surface elaboration and flattened space".
528:. Personal techniques can be important in analysing individual style. Though artists' training was before Modernism essentially imitative, relying on taught technical methods, whether learnt as an apprentice in a workshop or later as a student in an academy, there was always room for personal variation. The idea of technical "secrets" closely guarded by the master who developed them, is a long-standing
358:, where major changes between styles can be clearer and more easy to define, not least because style in architecture is easier to replicate by following a set of rules than style in figurative art such as painting. Terms originated to describe architectural periods were often subsequently applied to other areas of the visual arts, and then more widely still to music, literature and the general culture.
497:, of an artist: "the notion of personal style—that individuality can be uniquely expressed not only in the way an artist draws, but also in the stylistic quirks of an author's writing (for instance)— is perhaps an axiom of Western notions of identity". The identification of individual styles is especially important in the attribution of works to artists, which is a dominant factor in their
29:
3256:
135:
Most stylistic periods are identified and defined later by art historians, but artists may choose to define and name their own style. The names of most older styles are the invention of art historians and would not have been understood by the practitioners of those styles. Some originated as terms of
864:
Even in art that is in general attempting mimesis or "realism", a degree of stylization is very often found in details, and especially figures or other features at a small scale, such as people or trees etc. in the distant background even of a large work. But this is not stylization intended to be
131:
Any piece of art is in theory capable of being analysed in terms of style; neither periods nor artists can avoid having a style, except by complete incompetence, and conversely natural objects or sights cannot be said to have a style, as style only results from choices made by a maker. Whether the
420:
put it more strongly: "For nearly the whole of the 20th century, style art history has been the indisputable king of the discipline, but since the revolutions of the seventies and eighties the king has been dead", though his article explores ways in which "style art history" remains alive, and his
132:
artist makes a conscious choice of style, or can identify his own style, hardly matters. Artists in recent developed societies tend to be highly conscious of their own style, arguably over-conscious, whereas for earlier artists stylistic choices were probably "largely unselfconscious".
381:
Although style was well-established as a central component of art historical analysis, seeing it as the over-riding factor in art history had fallen out of fashion by World War II, as other ways of looking at art were developing, as well as a reaction against the emphasis on style; for
180:
102:
for example, these divisions may be marked and easy to see; in others, they are more subtle. Style is seen as usually dynamic, in most periods always changing by a gradual process, though the speed of this varies greatly, from the very slow development in style typical of
1467:
758:
are often very numerous in sites from many cultures and periods, and even small pieces may be confidently dated by their style. In contrast to recent trends in academic art history, the succession of schools of archaeological theory in the last century, from
1683:; the original article was not available at the time of this citation's insertion; citation for original publication follows: Shamir, Lior, and Jane A. Tarakhovsky. "Computer analysis of art." Journal on Computing and Cultural Heritage (JOCCH) 5.2 (2012): 7.
225:
was attentive to changes in ways of art-making, but he presented such changes as driven by technology and wealth. Vasari, too, attributes the strangeness and, in his view the deficiencies, of earlier art to lack of technological know-how and cultural
369:
construction. A major area of debate in both art history and archaeology has been the extent to which stylistic change in other fields like painting or pottery is also a response to new technical possibilities, or has its own impetus to develop (the
3055:
1474:. "Style" is not used for paintings etc., but for European porcelain they give the example:"A plate in the Worcester style" means "In our opinion, a copy or imitation of pieces made in the named factory, place or region". For examples,
810:, respectively) have a more specific meaning, referring to visual depictions that use simplified ways of representing objects or scenes that do not attempt a full, precise and accurate representation of their visual appearance (
1512:. New Haven and London: Yale University Press.Kubler, p. 14: "human products always incorporate both utility and art in varying mixtures, and no object is conceivable without the admixture of both"; see also Alpers in Lang, 140
1464:
910:
from 34 well-known artists using a specially developed algorithm and placed them in similar style categories to human art historians. The analysis involved the sampling of more than 4,000 visual features per work of art.
1754:
Gal, Rinon; Alaluf, Yuval; Atzmon, Yuval; Patashnik, Or; Bermano, Amit H.; Chechik, Gal; Cohen-Or, Daniel (2 August 2022). "An Image is Worth One Word: Personalizing Text-to-Image
Generation using Textual Inversion".
512:(1816 – 1891) pioneered the systematic study of the scrutiny of diagnostic minor details that revealed artists' scarcely conscious shorthand and conventions for portraying, for example, ears or hands, in Western
122:
in the 19th and early 20th centuries, so-called "style art history" has come under increasing attack in recent decades, and many art historians now prefer to avoid stylistic classifications where they can.
217:
Artistic styles shift with cultural conditions; a self-evident truth to any modern art historian, but an extraordinary idea in this period . Nor is it clear that any such idea was articulated in antiquity
353:
Semper, Wölfflin, and Frankl, and later
Ackerman, had backgrounds in the history of architecture, and like many other terms for period styles, "Romanesque" and "Gothic" were initially coined to describe
345:
are among the art historians who followed Riegl in proposing grand schemes tracing the transmission of elements of styles across great ranges in time and space. This type of art history is also known as
1402:
579:
in the West. Chinese painting also allowed for the expression of political and social views by the artist a good deal earlier than is normally detected in the West. Calligraphy, also regarded as a
501:, above all for works in the Western tradition since the Renaissance. The identification of individual style in works is "essentially assigned to a group of specialists in the field known as
508:
The exercise of connoisseurship is largely a matter of subjective impressions that are hard to analyse, but also a matter of knowing details of technique and the "hand" of different artists.
443:
for her "fundamental flaw" in continuing to use this and other terms, despite an apologetic "Note on style labels" at the beginning of the book and a promise to keep their use to a minimum.
159:, has a marked tendency to revive at intervals "classic" styles from the past. In critical analysis of the visual arts, the style of a work of art is typically treated as distinct from its
98:, and the individual style of the artist within that group style. Divisions within both types of styles are often made, such as between "early", "middle" or "late". In some artists, such as
152:
on the other hand was a conscious identification made by a few artists; the word itself seems to have originated with critics rather than painters, but was rapidly accepted by the artists.
1489:
374:
of Riegl), or changes in response to social and economic factors affecting patronage and the conditions of the artist, as current thinking tends to emphasize, using less rigid versions of
79:
any distinctive, and therefore recognizable, way in which an act is performed or an artifact made or ought to be performed and made". Style refers to the visual appearance of a work of
390:"In the later 20th century criticisms of style were aimed at further reducing the Hegelian elements of the concept while retaining it in a form that could be more easily controlled".
284:
codified the notion that each historical period will have a typical style", casting a very long shadow over the study of style. Hegel is often attributed with the invention of the
3105:
307:
Constructing schemes of the period styles of historic art and architecture was a major concern of 19th century scholars in the new and initially mostly German-speaking field of
894:
is also stylized as ATT and at&t": this is a specific usage that seems to have escaped dictionaries, although it is a small extension of existing other senses of the word.
463:
A rare recent attempt to create a theory to explain the process driving changes in artistic style, rather than just theories of how to describe and categorize them, is by the
408:
845:. The two Picasso paintings illustrated at the top of this page show a movement to a more stylized representation of the human figure within the painter's style, and the
4049:
3828:
771:
in recent decades has not significantly reduced the importance of the study of style in archaeology, as a basis for classifying objects before further interpretation.
3778:
3578:
1803:
711:, including purely functional ones (ignoring the question of whether purely functional artefacts exist). The identification of individual styles of artists or
3035:
1399:
656:" suggesting a distanced relationship between the style of the work and Rembrandt's own style. The "Explanation of Cataloguing Practice" of the auctioneers
213:
and
Baroque writers on art are greatly concerned with what we would call style, they did not develop a coherent theory of it, at least outside architecture:
545:
3833:
446:
3541:
1486:
1777:
976:
296:
609:'s manner of penciling was so peculiar to himself, that his work needed no signature". Examples of strongly individual styles include: the
3855:
2317:
1485:
as "Manner of
Rembrandt Harmensz. van Rijn", is now attributed in their notes to "an anonymous eighteenth-century follower of Rembrandt".
750:
techniques cannot be used, in particular where only stone, ceramic or metal artefacts or remains are available, which is often the case.
590:, brings a new area within the ambit of personal style; the ideal of Western calligraphy tends to be to suppress individual style, while
3977:
3293:
704:
361:
In architecture stylistic change often follows, and is made possible by, the discovery of new techniques or materials, from the Gothic
3987:
3877:
1664:
83:
that relates to other works with similar aesthetic roots, by the same artist, or from the same period, training, location, "school",
4045:
3811:
2256:
2221:
2204:
2149:
2131:
2069:
1587:
1141:
903:
1109:
See Blunt throughout, with in particular pp. 14–22 on
Alberti, 28–34 on Leonardo, 61–64 on Michelangelo, 89–95 and 98–100 on Vasari
505:", a group who centre in the art trade and museums, often with tensions between them and the community of academic art historians.
4041:
4012:
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1419:"Pop art | Characteristics, Definition, Style, Movement, Types, Artists, Paintings, Prints, Examples, Lichtenstein, & Facts"
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2936:
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2199:. Pennsylvania: Pennsylvania State University Press, 1996. (Chapter on "Style and History in Art History", pp. 171–198.)
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1921:
2273:
2166:
2094:
2009:
1975:
1961:
1936:
1729:
1644:
1611:
760:
304:(the spirit of his time), writing that "no man can surpass his own time, for the spirit of his time is also his own spirit."
115:
styles. Style often develops in a series of jumps, with relatively sudden changes followed by periods of slower development.
1478:
3965:
3654:
2614:
2539:
1400:
https://museumsandcollections.unimelb.edu.au/__data/assets/pdf_file/0003/2942274/13_Ritchie_Gainsboroughs-signature-22.pdf
3982:
3816:
3618:
3238:
3165:
2013:
1984:
387:
1648:
1615:
233:
set out a hugely influential but much-questioned account of the development of style in
Italian painting (mainly) from
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3972:
3950:
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919:
768:
567:
it is just as deeply held, but traditionally regarded as a factor in the appreciation of some types of art, above all
2135:
56:
3997:
3882:
2764:
2594:
1829:
1449:
273:
171:
this distinction is "not, of course, true in any actual example; but it has proved rhetorically extremely useful".
1253:
914:
Apps such as Deep Art
Effects can turn photos into art-like images claimed to be in the style of painters such as
2471:
1940:
1579:
1530:
936:
525:
312:
261:
depiction of nature and idealization of it; this debate was to continue until the 19th century and the advent of
2749:
1562:
1357:
1245:
Summarized in his article "Evolution of
Ancient Art: Trends in the Style of Greek Vases and Egyptian Painting",
668:" in their auction catalogues means "In our opinion a work executed in the artist's style but of a later date".
4036:
4029:
4007:
3630:
3125:
2909:
2310:
731:
684:
598:
551:
464:
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42:
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3821:
3478:
3286:
3185:
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858:
739:
708:
436:
3992:
3935:
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3115:
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2822:
2524:
2390:
1626:
See Elsner, 107 on
Picasso as the paradigm of "the supremely self-conscious poseur in any style you like".
1534:
1087:
classical authors did leave a considerable and subtle body of analysis of style in literature, especially
764:
735:
276:, analysed the stylistic changes in Greek classical art in 1764, comparing them closely to the changes in
88:
4019:
3940:
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3686:
3573:
3536:
3243:
2817:
2770:
2679:
2504:
2477:
2451:
2385:
1271:"Review of The Signature Style of Frans Hals: Painting, Subjectivity, and the Market in Early Modernity"
846:
784:
258:
254:
94:
Style can be divided into the general style of a period, country or cultural group, group of artists or
3805:
2792:
1881:
1855:
1830:"I thrashed the RTX 4090 for 8 hours straight training Stable Diffusion to paint like my uncle Hermann"
1637:
The
Slumber of Apollo: Reflections on Recent Art, Literature, Language and the Individual Consciousness
676:("manner") is a specific phase of the general Renaissance style, but "manner" can be used very widely.
1992:
431:
appears to be in decline, as impatience with such "style labels" grows among art historians. In 2000
4103:
3892:
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3531:
3350:
3205:
3085:
3075:
2983:
2956:
2859:
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493:
Traditional art history has also placed great emphasis on the individual style, sometimes called the
412:, 1962) have made notable contributions to the debate, which has also drawn on wider developments in
330:
108:
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3887:
3766:
3681:
3320:
3248:
3215:
3190:
3025:
2973:
2787:
2744:
2734:
2704:
2684:
2569:
2421:
2375:
2370:
2365:
2360:
2303:
2119:
606:
583:
568:
366:
355:
2659:
4067:
3850:
3676:
3526:
3279:
3210:
3200:
3170:
3145:
2931:
2869:
2729:
2529:
2436:
2355:
2340:
1756:
1702:
1306:
1298:
931:
700:
1033:
goes further "No human acts escape style", Kubler in Lang, 167; II, 3 in his list; Elkins, s. 2
520:
and others, and have been applied to sculpture and many other types of art, for example by Sir
4093:
4024:
4002:
3930:
3671:
3485:
3404:
3335:
3260:
3220:
3095:
2988:
2962:
2604:
2564:
2519:
2499:
2456:
2431:
2350:
2345:
2269:
2252:
2217:
2200:
2162:
2145:
2127:
2090:
2065:
2005:
1979:
1971:
1957:
1932:
1640:
1607:
1290:
1137:
1129:
972:
720:
652:
for the relationship between a work for sale and that of a well-known artist, with "Manner of
572:
395:
386:, "the normal invocation of style in art history is a depressing affair indeed". According to
342:
91:: "The notion of style has long been historian's principal mode of classifying works of art".
48:
33:
2052:
3904:
3706:
3701:
3691:
3490:
3360:
2724:
2674:
2619:
2534:
2466:
2044:
2034:
1988:
1604:
A Medieval Book of Beasts: The Second-Family Bestiary, Commentary, Art, Text And Translation
1282:
946:
941:
883:
876:
630:
575:, but not others, such as Chinese porcelain; a distinction also often seen in the so-called
517:
509:
487:
467:
316:
16:
Visual appearance of a creative work, shared with other works of the same movement or school
1692:
See also Gombrich, 140, commenting in 1968 that no such analysis was feasible at that time.
779:
474:
principles. However this cannot be said to have gained much support among art historians.
179:
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3872:
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1909:
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850:
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743:
727:
638:
576:
425:
413:
383:
347:
338:
285:
277:
222:
104:
1584:
563:
However the idea of personal style is certainly not limited to the Western tradition. In
4108:
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3495:
3330:
3195:
3175:
3045:
2802:
2754:
2714:
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2514:
2286:
2226:
2209:
2154:
2112:, Vol. 86, No. 2 (Apr., 2000), pp. 323–324, Catholic University of America Press,
2018:
1000:
817:
539:
530:
450:
432:
399:
391:
230:
75:
distinctive manner which permits the grouping of works into related categories" or "...
4087:
3865:
3754:
3744:
3666:
3505:
3500:
3399:
3225:
3015:
2874:
2797:
2739:
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2494:
2446:
2075:
1945:
1505:
1310:
1030:
996:
657:
634:
626:
614:
556:
498:
403:
269:
38:
2032:
Gotlieb, Marc, "The Painter's Secret: Invention and Rivalry from Vasari to Balzac",
2004:, Nelson, Robert S. and Shiff, Richard, 2nd Edn. 2010, University of Chicago Press,
849:
is an example of a highly stylized prehistoric depiction of a horse. Motifs in the
3749:
3431:
3355:
2829:
2694:
2574:
2554:
2406:
837:
535:
521:
137:
95:
84:
3056:
A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful
734:(shape) of individual artefacts is the starting point. This is used to construct
209:
did not greatly develop a concept of style in art, or analysis of it, and though
4072:
3860:
3739:
3661:
3625:
3608:
3598:
3563:
3441:
3414:
3409:
3370:
3365:
3302:
3271:
2998:
2951:
2807:
2759:
2719:
2669:
2461:
2057:
1475:
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842:
716:
696:
688:
622:
564:
502:
334:
320:
308:
281:
210:
192:
184:
160:
156:
119:
64:
2283:
Principles of Art History. The Problem of the Development of Style in Later Art
3899:
3794:
3649:
3637:
3603:
3558:
3548:
3451:
3446:
2968:
2946:
2839:
2624:
2584:
2544:
2411:
2326:
1997:
1917:
1882:"These artists found out their work was used to train AI. Now they're furious"
1778:"DALL-E can now help you imagine what's outside the frame of famous paintings"
1302:
1270:
824:
591:
513:
417:
325:
206:
197:
168:
112:
1294:
1249:, Vol. 16, No. 1(31) (Spring 1990), pp. 31–47, University of Illinois Press,
3568:
3458:
3375:
3306:
2879:
2849:
2644:
2589:
2509:
2441:
832:
703:, period or cultural style remains a crucial tool in the identification and
669:
653:
649:
587:
471:
455:
362:
290:
262:
238:
28:
20:
1703:"A.I. photo filters use neural networks to make photos look like Picassos"
922:, using specifiable art styles has become a widespread tool in the 2020s.
3799:
3696:
3436:
3421:
3392:
3345:
3180:
2914:
2864:
2844:
2709:
1418:
1088:
915:
907:
854:
746:
based on style for a site or group of sites is achieved where scientific
715:
has also been proposed in some cases even for remote periods such as the
580:
435:, a leading art historian of 16th-century Italian painting and mentee of
242:
188:
2241:
2240:, Vol. 25, No. 2 (1988), pp. 47–60; University of Wisconsin Press,
2113:
2025:, ed. D. L. Sills, xv (New York, 1968), reprinted in Preziosi, D. (ed.)
1804:"With Stable Diffusion, you may never believe what you see online again"
1446:
1250:
439:(1914–1997), who invented the term, was criticised by a reviewer of her
257:
he continued classical debates over the best balance in art between the
3553:
3463:
3340:
3325:
2993:
2941:
2899:
2884:
2854:
2416:
2039:
891:
871:
866:
828:
812:
755:
712:
618:
375:
141:
99:
2186:
1991:, Oxford Art Online, Oxford University Press, accessed March 6, 2013,
1559:
879:
not intended as finished works for sale will also very often stylize.
3521:
3473:
3468:
3387:
2926:
2904:
2834:
2812:
1465:
Christie's "Explanation of Cataloguing Practice" (after lot listings)
1351:
882:"Stylized" may mean the adoption of any style in any context, and in
610:
250:
234:
149:
145:
2244:; pp. 50–51 discuss the difficulty of capturing style in words.
1533:
can be used for much ceramic material, and the developing method of
559:
as "Manner of Rembrandt Harmensz van Rijn" and sold for £750 in 2010
482:"Signature style" redirects here. For the American company known as
205:
Classical art criticism and the relatively few medieval writings on
1761:
1372:
Gotlieb, throughout; 469–475 on Vasari and van Eyck; 469 on Seurat.
1286:
1021:
Elkins, s. 2; Kubler in Lang, 163–164; Alpers in Lang, 137–138; 161
3382:
2699:
778:
751:
683:
544:
178:
47:
27:
2106:
After Raphael: Painting in Central Italy in the Sixteenth Century
1558:, Vol. 58, No. 4 (Oct., 1993), Society for American Archaeology,
441:
After Raphael: Painting in Central Italy in the Sixteenth Century
2920:
2894:
311:, with important writers on the broad theory of style including
3275:
2299:
2889:
2236:
Sher, Yakov A.; "On the Sources of the Scythic Animal Style",
1953:
80:
2295:
2285:, Translated from 7th German Edition (1929) into English by
201:(1893) traced the evolution and transmission of such motifs.
155:
Western art, like that of some other cultures, most notably
861:
are often highly stylized versions of the parts of plants.
19:"Art style" redirects here. For the video game series, see
1554:
and Christine Hastorf (see further reading), pp. 779–780,
738:
for different types of artefacts, and by the technique of
534:
in art history from Vasari's probably mythical account of
1510:
The Shape of Time : Remarks on the History of Things
1136:, Continuum International Publishing Group, p. 262,
2231:
Theory and Philosophy of Art: Style, Artist, and Society
1332:
Alpers in Lang, 139, a situation she sees as problematic
1060:
Gombrich, 131; Honour & Fleming, 13–14; Elkins, s. 2
835:
very often use stylized representations, so for example
2064:. 7th edition. London: Laurence King Publishing, 2009,
1730:"From Camera Roll to Canvas: Make Art From Your Photos"
1003:(with whom he disagrees), quoted by Alpers in Lang, 138
2197:
Replications: Archaeology, Art History, Psychoanalysis
3106:
The Work of Art in the Age of Mechanical Reproduction
2289:, Dover Publications New York, 1950 and many reprints
1920:, (Ithaca: Cornell University Press, 1987), 137–162,
1341:
Exemplified in grumbling by Grosvenor; Crane, 214–216
906:
in Michigan, a computer analysed approximately 1,000
594:, which relies upon it, regards itself as a science.
865:
noticed by the viewer, except on close examination.
841:
use highly stylized depictions, as does traditional
3918:
3787:
3725:
3589:
3514:
3313:
3158:
3007:
2780:
2487:
2399:
2333:
470:, who has proposed an evolutionary theory based on
421:comment would hardly be applicable to archaeology.
409:
The Shape of Time: Remarks on the History of Things
294:, but he never actually used the word, although in
2038:, Vol. 84, No. 3 (Sep., 2002), pp. 469–490,
2023:International Encyclopedia of the Social Sciences
1679:This is a summary of an article appearing in the
1218:Elkins, s. 2; analysed by Kubler in Lang, 164–165
1209:Elkins, s. 2 (quoted); see also Gombrich, 135–136
969:Art History and its Methods: A critical anthology
2292:See also the lists at Elsner, 108–109 and Elkins
1658:
1656:
3779:Timeline of 20th century printmaking in America
2185:, 1990, Cambridge: Cambridge University Press,
1856:"Dear Artists: Do Not Fear AI Image Generators"
253:colour. With other Renaissance theorists like
55:(1907), also by Picasso in a different style ("
1681:ACM Journal on Computing and Cultural Heritage
1182:Gombrich, 131–136; Elkins, s. 2; Rawson, 24–25
1118:Elkins, s. 2; Preziosi, 115–117; Gombrich, 136
3287:
2311:
1665:"Computers Match Humans in Understanding Art"
783:Aerial view of the very stylized prehistoric
8:
3036:The Literary Mind and the Carving of Dragons
2142:The Art of Art History: A Critical Anthology
2027:The Art of Art History: A Critical Anthology
707:not only of works of art but all classes of
1639:, p. 30, 1983, Cambridge University Press,
1445:, Vol. 3, No. 6 (Mar., 1918), pp. 506–511,
516:paintings. His techniques were adopted by
337:continuing the debate in the 20th century.
41:, 1903; falling under the "style label" of
3294:
3280:
3272:
2318:
2304:
2296:
2233:, New York: Georg Braziller, 1995), 51–102
2159:Chinese Ornament: The lotus and the dragon
2089:, 1987, Ithaca: Cornell University Press,
350:, or the study of forms or shapes in art.
241:period. He stressed the development of a
2249:The Aesthetics and Multimodality of Style
2144:, Oxford: Oxford University Press, 1998,
2029:(see below), whose page numbers are used.
1760:
2216:. Cambridge, Mass. The MIT Press, 1995.
1931:, University of California Press, 1997,
1441:"What Is Poetry?", "Petronius Arbiter",
918:. With the development of sophisticated
453:'s very individual technique and style,
445:
118:After dominating academic discussion in
957:
2101:; includes essays by Alpers and Kubler
1728:Biersdorfer, J. D. (4 December 2019).
1476:this painting, sold by Bonhams in 2011
898:Computer identification and recreation
2161:, 1984, British Museum Publications,
297:Lectures on the Philosophy of History
7:
2247:Siefkes, Martin, Arielli, Emanuele,
2187:Review by Clemency Chase Coggins in
1968:Museums and Memory, Cultural Sitings
2080:Towards a Reductive Theory of Style
2047:, "On connoisseurship", article in
1970:, 2000, Stanford University Press,
1950:Artistic Theory in Italy, 1450–1600
1776:Vincent, James (5 September 2022).
827:, as well as popular forms such as
249:or line-based drawing, rather than
163:, which covers the subject and the
3878:Index of painting-related articles
2181:, Hastorf, Christine Anne (eds.),
1912:, "Style is What You Make It", in
1802:Edwards, Benj (6 September 2022).
14:
971:. London: Phaidon, 1995, p. 361.
904:Lawrence Technological University
699:, despite modern techniques like
3254:
2183:The Uses of Style in Archaeology
2104:Murphy, Caroline P., Review of:
1927:Bahn, Paul G. and Vertut, Jean,
1880:Metz, Rachel (21 October 2022).
1548:The Uses of Style in Archaeology
187:ornament in ivory, centred on a
2126:, 2020, Zone Books, MIT Press,
1828:James, Dave (27 October 2022).
1487:This example sold by Christie's
2251:, 2018, New York, Peter Lang,
2110:The Catholic Historical Review
2002:Critical Terms for Art History
1606:, p. 54, 2006, Boydell Press,
1128:Glenn Alexander Magee (2011),
761:culture-historical archaeology
1:
2053:on "art History News" website
1546:Review by Mary Ann Levine of
920:text-to-image AI art software
691:stone tools grouped by period
3817:Museum collection management
3740:Art history (academic study)
3619:alternative exhibition space
3166:Aestheticization of politics
2189:Journal of Field Archaeology
1353:Dictionary of Art Historians
499:valuation for the art market
3978:Colossal sculptures in situ
3682:Artist-in-residence program
1952:, 1940 (refs to 1985 edn),
1929:Journey Through the Ice Age
1155:Elkins, s. 2, 3; Rawson, 24
1078:Elsner, 107–108, 108 quoted
1051:Elsner, 106–107, 107 quoted
769:post-processual archaeology
672:, derived from the Italian
538:to the secretive habits of
4132:
3988:Contemporary art galleries
3883:Outline of the visual arts
2266:Style in the Arts of China
1854:Ford, Paul (Nov 3, 2022).
1496:fetched only £750 in 2010.
1173:Gombrich, 129; Elsner, 104
823:Ancient, traditional, and
481:
274:Johann Joachim Winckelmann
18:
4058:
3234:
1580:Great Soviet Encyclopedia
1531:Thermoluminescence dating
937:Composition (visual arts)
424:The use of terms such as
313:Carl Friedrich von Rumohr
53:Les Demoiselles d'Avignon
4042:Most expensive paintings
3829:Conservation-restoration
3631:Contemporary art gallery
2021:. "Style" (1968), orig.
1069:Honour & Fleming, 13
999:summarizing the view of
902:In a 2012 experiment at
767:and finally the rise of
552:Christ among the Doctors
465:behavioural psychologist
167:of the work, though for
111:to the rapid changes in
57:Picasso's African Period
4050:works by living artists
3812:Classificatory disputes
3186:Evolutionary aesthetics
3136:The Aesthetic Dimension
1537:may become widely used.
1423:Encyclopedia Britannica
1381:Rawson, 92–102; 111–119
1269:Suffern, Erika (2013).
1091:; see Gombrich, 130–131
890:style of names, as in "
709:archaeological artefact
437:Sydney Joseph Freedberg
4099:Concepts in aesthetics
3116:Avant-Garde and Kitsch
3066:Lectures on Aesthetics
2124:Anachronic Renaissance
2118:Nagel, Alexander, and
2062:A World History of Art
1535:Rehydroxylation dating
886:is often used for the
788:
765:processual archaeology
692:
560:
460:
228:
202:
175:History of the concept
89:archaeological culture
60:
45:
3687:Artist-run initiative
3574:Visual arts education
3261:Philosophy portal
2214:Three Essays on Style
1663:Suzanne Tracy (ed.),
1577:"Stylization" in the
1521:Bahn & Vertut, 89
1275:Renaissance Quarterly
847:Uffington White Horse
785:Uffington White Horse
782:
687:
603:Anecdotes of Painters
548:
449:
302:der Geist seiner Zeit
300:, he uses the phrase
255:Leon Battista Alberti
215:
182:
51:
43:Picasso's Blue Period
31:
3983:Contemporary artists
3846:Destination painting
3643:Single-artist museum
3532:Conservator-restorer
3206:Philosophy of design
3086:In Praise of Shadows
3076:The Critic as Artist
2120:Wood, Christopher S.
2087:The Concept of Style
2060:& John Fleming.
2049:Fine Art Connoisseur
1966:Crane, Susan A. ed,
1914:The Concept of Style
1669:Scientific Computing
1355:: "Giovanni Morelli"
1247:Visual Arts Research
1134:The Hegel Dictionary
680:Style in archaeology
584:in the Islamic world
365:to modern metal and
356:architectural styles
136:derision, including
109:Ancient Egyptian art
3973:Art reference books
3767:History of painting
3351:Fine-art photograph
3216:Philosophy of music
3191:Mathematical beauty
2238:Arctic Anthropology
2179:Conkey, Margaret W.
2140:Preziosi, D. (ed.)
2108:by Marcia B. Hall,
2085:Lang, Berel (ed.),
1602:Clark, Willene B.,
1585:The Free Dictionary
1200:Alpers in Lang, 137
1191:Kubler in Lang, 163
726:As in art history,
526:Attic vase painting
367:reinforced concrete
59:") four years later
4114:Visual arts theory
4068:Visual arts portal
3998:National galleries
3851:Eclecticism in art
3806:Catalogue raisonné
3677:Artist cooperative
3211:Philosophy of film
3201:Patterns in nature
3171:Applied aesthetics
3146:Why Beauty Matters
2932:Life imitating art
2793:Art for art's sake
2279:Wölfflin, Heinrich
2191:,1992), from JSTOR
2074:"Kubler in Lang":
1908:"Alpers in Lang":
1734:The New York Times
1709:. 18 November 2019
1590:2013-06-07 at the
1583:, 1979, online at
1565:2016-09-20 at the
1556:American Antiquity
1492:2013-05-25 at the
1481:2013-05-22 at the
1470:2016-03-05 at the
1452:2018-12-15 at the
1405:2021-10-27 at the
1360:2018-11-06 at the
1256:2016-09-20 at the
1100:Nagel and Wood, 92
932:Artistic rendering
789:
701:radiocarbon dating
693:
561:
461:
203:
61:
46:
4081:
4080:
3672:Artist collective
3486:Site-specific art
3336:Cultural artifact
3269:
3268:
3221:Psychology of art
3096:Art as Experience
2268:, 1974, Penguin,
2097:, 9780801494390,
2045:Grosvenor, Bendor
2012:, 9780226571690,
1978:, 9780804735643,
1939:, 9780520213067,
1647:, 9780521248044,
1614:, 9780851156828,
977:978-0-7148-2991-3
721:Upper Paleolithic
660:' explains that "
573:literati painting
343:Josef Strzygowski
331:Heinrich Wölfflin
4121:
4037:Stolen paintings
3905:Sociology of art
3856:Economics of art
3707:Sculpture garden
3692:Artist-run space
3491:Social sculpture
3361:Installation art
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2035:The Art Bulletin
1989:Grove Art Online
1910:Alpers, Svetlana
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947:Posthumanist art
884:American English
806:in (non-Oxford)
719:of the European
665:
631:Vincent Van Gogh
555:, catalogued by
518:Bernard Berenson
510:Giovanni Morelli
488:Signature Styles
484:Signature Styles
478:Individual style
468:Colin Martindale
317:Gottfried Semper
268:The theorist of
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4063:Painting portal
4054:
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3873:Elements of art
3841:Cultural policy
3783:
3735:Timeline of art
3721:
3712:Sculpture trail
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2262:Watson, William
2227:Schapiro, Meyer
2210:Panofsky, Erwin
2175:
2173:Further reading
2155:Rawson, Jessica
1993:subscriber link
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808:British English
777:
748:absolute dating
744:relative dating
728:formal analysis
682:
663:
646:
639:Jackson Pollock
577:decorative arts
495:signature style
491:
486:2009–2012, see
480:
414:critical theory
384:Svetlana Alpers
339:Paul Jacobsthal
278:Renaissance art
245:style based on
226:sophistication.
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1001:Meyer Schapiro
989:
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599:Edward Edwards
540:Georges Seurat
479:
476:
451:Georges Seurat
433:Marcia B. Hall
400:Ernst Gombrich
396:James Ackerman
392:Meyer Schapiro
329:of 1893, with
231:Giorgio Vasari
176:
173:
128:
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15:
13:
10:
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2:
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4020:Photographers
4018:
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3989:
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3966:single artist
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3941:Art movements
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3866:art valuation
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3750:Art movements
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3745:Art manifesto
3743:
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3501:Stained glass
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3400:New media art
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3329:
3327:
3324:
3322:
3321:Appropriation
3319:
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3308:
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3297:
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3262:
3252:
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3227:
3226:Theory of art
3224:
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3214:
3212:
3209:
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3197:
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3174:
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3157:
3148:
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3127:
3123:
3117:
3113:
3107:
3103:
3098:
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3093:
3088:
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3083:
3077:
3073:
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3063:
3058:
3057:
3053:
3048:
3047:
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3037:
3033:
3028:
3027:
3023:
3018:
3017:
3016:Hippias Major
3013:
3012:
3010:
3006:
3000:
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2990:
2987:
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2898:
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2881:
2878:
2876:
2875:Entertainment
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2804:
2801:
2799:
2798:Art manifesto
2796:
2794:
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2789:
2788:Appropriation
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2785:
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2779:
2773:
2772:
2768:
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2708:
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2680:Merleau-Ponty
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2516:
2513:
2511:
2508:
2506:
2503:
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2498:
2496:
2495:Abhinavagupta
2493:
2492:
2490:
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2479:
2475:
2473:
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2447:Postmodernism
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2287:M D Hottinger
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2257:9783631739426
2254:
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2222:0-262-16151-6
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2205:0-271-01524-1
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2150:9780714829913
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2070:9781856695848
2067:
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2059:
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2051:, 2011?, now
2050:
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2037:
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2024:
2020:
2017:
2015:
2011:
2007:
2003:
2000:, "Style" in
1999:
1996:
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1987:, "Style" in
1986:
1985:Elkins, James
1983:
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1443:The Art World
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1350:Elsner, 103;
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1042:Lang, 177–178
1039:
1036:
1032:
1031:George Kubler
1027:
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1018:
1015:
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1006:
1002:
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997:George Kubler
993:
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987:Gombrich, 150
984:
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978:
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952:
948:
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942:Mise en scène
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659:
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641:
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636:
635:Drip Painting
632:
628:
627:Impressionist
624:
620:
616:
615:Pablo Picasso
612:
608:
605:(1808): "Mr.
604:
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405:
404:George Kubler
401:
397:
393:
389:
385:
379:
378:art history.
377:
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364:
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270:Neoclassicism
266:
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244:
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183:14th-century
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58:
54:
50:
44:
40:
39:Pablo Picasso
36:
35:
30:
24:
23:
3956:most visited
3909:
3804:
3432:Plastic arts
3356:Found object
3144:
3134:
3124:
3094:
3084:
3064:
3054:
3044:
3034:
3024:
3014:
2978:
2961:
2937:Magnificence
2919:
2769:
2735:Schopenhauer
2570:Coomaraswamy
2488:Philosophers
2476:
2407:Aestheticism
2282:
2265:
2248:
2237:
2230:
2213:
2196:
2188:
2182:
2158:
2141:
2136:google books
2123:
2109:
2105:
2099:google books
2086:
2079:
2061:
2058:Honour, Hugh
2048:
2033:
2026:
2022:
2014:google books
2001:
1980:google books
1967:
1949:
1941:google books
1928:
1922:google books
1913:
1889:. Retrieved
1886:CNN Business
1885:
1875:
1863:. Retrieved
1859:
1849:
1837:. Retrieved
1833:
1823:
1811:. Retrieved
1808:Ars Technica
1807:
1797:
1785:. Retrieved
1781:
1771:
1749:
1737:. Retrieved
1733:
1723:
1711:. Retrieved
1706:
1697:
1688:
1680:
1672:, retrieved
1668:
1649:google books
1636:
1631:
1622:
1616:google books
1603:
1598:
1578:
1573:
1555:
1550:, edited by
1547:
1542:
1526:
1517:
1509:
1501:
1460:
1442:
1437:
1426:. Retrieved
1422:
1413:
1395:
1386:
1377:
1368:
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1346:
1337:
1328:
1319:
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1274:
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1114:
1105:
1096:
1083:
1074:
1065:
1056:
1047:
1038:
1026:
1017:
1012:Elkins, s. 1
1008:
992:
983:
968:
965:Fernie, Eric
960:
913:
901:
881:
875:, and other
870:
863:
853:such as the
838:The Simpsons
836:
822:
811:
803:
799:
795:
791:
790:
725:
694:
673:
661:
647:
607:Gainsborough
602:
601:said in his
597:The painter
596:
562:
550:
549:Painting of
536:Jan van Eyck
529:
522:John Beazley
507:
503:connoisseurs
494:
492:
483:
462:
454:
440:
427:
423:
407:
388:James Elkins
380:
371:
360:
352:
324:
306:
301:
295:
289:
267:
246:
229:
216:
204:
196:
164:
154:
134:
130:
117:
96:art movement
93:
85:art movement
68:
62:
52:
32:
21:
4104:Art history
4073:Arts portal
3946:Art museums
3861:art finance
3662:Arts centre
3626:Art gallery
3609:Art commune
3599:Art auction
3442:Printmaking
3371:Mixed media
3366:Kinetic art
3303:Visual arts
3030:(c. 335 BC)
3020:(c. 390 BC)
2999:Work of art
2952:Picturesque
2808:Avant-garde
2765:Winckelmann
2640:Kierkegaard
2565:Collingwood
2535:Baudrillard
2462:Romanticism
2432:Historicism
2366:Mathematics
2019:Gombrich, E
1998:Elsner, Jas
1674:November 2,
1323:Elsner, 103
1236:Murphy, 324
1130:"Zeitgeist"
888:typographic
843:African art
800:stylisation
792:Stylization
775:Stylization
717:Ice Age art
697:archaeology
689:Paleolithic
623:Andy Warhol
569:calligraphy
565:Chinese art
372:kunstwollen
335:Paul Frankl
321:Alois Riegl
309:art history
282:Georg Hegel
237:to his own
211:Renaissance
193:Alois Riegl
161:iconography
157:Chinese art
120:art history
65:visual arts
4088:Categories
4046:sculptures
3900:Provenance
3795:Art market
3702:Commission
3650:Art school
3638:Art museum
3604:Art colony
3592:and events
3452:street art
3447:Public art
2969:Recreation
2947:Perception
2840:Creativity
2540:Baumgarten
2530:Baudelaire
2412:Classicism
2327:Aesthetics
2274:0140218637
2195:Davis, W.
2167:0714114316
2095:0801494397
2010:0226571696
1976:0804735646
1962:0198810504
1937:0520213068
1918:Berel Lang
1903:References
1891:9 November
1865:9 November
1839:9 November
1813:9 November
1787:9 November
1762:2208.01618
1739:9 November
1713:9 November
1645:0521248043
1612:0851156827
1428:2021-10-13
1390:Rawson, 27
1227:Elsner, 98
1164:Rawson, 24
825:modern art
787:in England
736:typologies
732:morphology
658:Christie's
592:graphology
557:Christie's
514:old master
418:Jas Elsner
416:. In 2010
326:Stilfragen
243:Florentine
207:aesthetics
198:Stilfragen
169:Jas Elsner
113:Modern art
4025:Sculptors
3931:Art media
3893:sculpture
3834:paintings
3755:Criticism
3537:paintings
3527:Collector
3459:Sculpture
3376:bricolage
3307:art world
2974:Reverence
2880:Eroticism
2850:Depiction
2823:Masculine
2725:Santayana
2685:Nietzsche
2630:Hutcheson
2620:Heidegger
2605:Greenberg
2560:Coleridge
2525:Balthasar
2510:Aristotle
2472:Theosophy
2467:Symbolism
2442:Modernism
2427:Formalism
2082:, in Lang
1782:The Verge
1311:163333589
1295:0034-4338
908:paintings
859:arabesque
833:animation
818:realistic
740:seriation
670:Mannerism
662:Manner of
654:Rembrandt
650:art trade
629:style of
621:style of
588:East Asia
472:Darwinian
459:, 1889–90
456:Le Chahut
363:rib vault
348:formalism
291:Zeitgeist
263:Modernism
259:realistic
239:Mannerist
71:is a "...
22:Art Style
4094:Painting
4003:Painters
3888:painting
3800:The arts
3760:feminist
3697:Biennale
3437:Portrait
3422:Painting
3393:graffiti
3346:Fine art
3305:and the
3249:Category
3181:Axiology
3050:(c. 500)
3040:(c. 100)
2915:Judgment
2870:Emotions
2865:Elegance
2845:Cuteness
2818:Feminine
2781:Concepts
2750:Tanizaki
2730:Schiller
2715:Richards
2705:Rancière
2675:Maritain
2610:Hanslick
2550:Benjamin
2422:Feminism
2391:Theology
2371:Medieval
2361:Japanese
2356:Internet
1834:PC Gamer
1588:Archived
1563:Archived
1508:(1962).
1490:Archived
1479:Archived
1468:Archived
1450:Archived
1403:Archived
1358:Archived
1254:Archived
1089:rhetoric
926:See also
916:Van Gogh
892:AT&T
877:sketches
867:Drawings
855:palmette
829:cartoons
804:stylised
796:stylized
713:artisans
581:fine art
426:Counter-
251:Venetian
189:palmette
127:Overview
4008:by name
3951:largest
3788:Related
3772:outline
3554:Curator
3542:frescos
3479:tallest
3464:carving
3415:virtual
3410:digital
3405:history
3341:Drawing
3326:Collage
3314:Artwork
3244:Outline
3159:Related
3026:Poetics
2994:Tragedy
2984:Sublime
2957:Quality
2942:Mimesis
2900:Harmony
2885:Fashion
2860:Ecstasy
2855:Disgust
2771:more...
2740:Scruton
2665:Lyotard
2600:Goodman
2580:Deleuze
2515:Aquinas
2505:Alberti
2478:more...
2457:Realism
2437:Marxism
2417:Fascism
2400:Schools
2386:Science
2341:Ancient
872:modelli
813:mimesis
756:pottery
730:of the
674:maniera
619:Pop Art
613:art of
428:Maniera
376:Marxist
323:in his
280:, and "
247:disegno
185:Islamic
165:content
142:Baroque
100:Picasso
63:In the
4030:female
3655:Europe
3590:Places
3579:Europe
3569:Patron
3559:Dealer
3549:Critic
3522:Artist
3474:statue
3469:relief
3388:fresco
3150:(2009)
3140:(1977)
3130:(1946)
3120:(1939)
3110:(1935)
3100:(1934)
3090:(1933)
3080:(1891)
3070:(1835)
3060:(1757)
2927:Kitsch
2905:Humour
2835:Comedy
2813:Beauty
2755:Vasari
2745:Tagore
2720:Ruskin
2660:Lukács
2650:Langer
2595:Goethe
2520:Balázs
2500:Adorno
2381:Nature
2346:Africa
2272:
2255:
2220:
2203:
2165:
2148:
2130:
2093:
2068:
2008:
1974:
1960:
1935:
1916:, ed.
1643:
1610:
1309:
1301:
1293:
1140:
975:
752:Sherds
705:dating
664:
644:Manner
617:, the
611:Cubist
319:, and
286:German
235:Giotto
219:
150:Cubism
146:Rococo
144:, and
138:Gothic
77:
73:
34:La Vie
4109:Style
3919:Lists
3910:Style
3564:Model
3515:Roles
3383:Mural
3239:Index
3008:Works
2989:Taste
2979:Style
2760:Wilde
2700:Plato
2695:Pater
2655:Lipps
2615:Hegel
2585:Dewey
2575:Danto
2555:Burke
2376:Music
2351:India
2334:Areas
2242:JSTOR
2114:JSTOR
2040:JSTOR
1860:Wired
1757:arXiv
1560:JSTOR
1447:JSTOR
1307:S2CID
1299:JSTOR
1251:JSTOR
953:Notes
542:.
531:topos
288:word
223:Pliny
69:style
2963:Rasa
2921:Kama
2895:Gaze
2830:Camp
2710:Rand
2645:Klee
2635:Kant
2625:Hume
2545:Bell
2270:ISBN
2253:ISBN
2218:ISBN
2201:ISBN
2163:ISBN
2146:ISBN
2128:ISBN
2091:ISBN
2066:ISBN
2006:ISBN
1972:ISBN
1958:ISBN
1933:ISBN
1893:2022
1867:2022
1841:2022
1815:2022
1789:2022
1741:2022
1715:2022
1676:2012
1641:ISBN
1608:ISBN
1291:ISSN
1138:ISBN
973:ISBN
816:or "
802:and
798:(or
794:and
586:and
571:and
402:and
341:and
333:and
221:...
2890:Fun
2670:Man
2590:Fry
1954:OUP
1283:doi
857:or
831:or
763:to
754:of
695:In
666:...
637:by
524:to
195:'s
148:.
107:or
87:or
81:art
37:by
4090::
4048:,
4044:,
3118:"
3108:"
3078:"
2281:,
2264:,
2212:.
2157:,
2134:,
2122:,
2078:,
1956:,
1948:,
1884:.
1858:.
1832:.
1806:.
1780:.
1732:.
1705:.
1667:,
1655:^
1421:.
1305:.
1297:.
1289:.
1279:66
1277:.
1273:.
1132:,
967:.
869:,
742:a
723:.
633:,
625:,
398:,
394:,
315:,
272:,
265:.
191:;
140:,
67:,
3295:e
3288:t
3281:v
3114:"
3104:"
3074:"
2319:e
2312:t
2305:v
1924:.
1895:.
1869:.
1843:.
1817:.
1791:.
1765:.
1759::
1743:.
1717:.
1431:.
1313:.
1285::
490:.
406:(
25:.
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