659:"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 It is a somewhat outdated term in academic art history, avoided because it is imprecise.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
458:
557:
696:
791:
60:
831:"), 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".
539:. 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
369:, 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.
508:, 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
40:
3267:
146:
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
875:
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
142:
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
431:
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
143:
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".
392:
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
191:
113:
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
1478:
769:
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
1694:; 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.
236:
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
380:
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
3066:
1485:. "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,
821:, 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 (
1523:. 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
1475:
921:
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.
1765:
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".
523:(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
133:
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.
228:
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
364:
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
356:
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
1413:
590:
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
512:, 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
519:
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.
454:
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.
170:, 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
109:, 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
163:
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.
1500:
385:
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
90:
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
401:"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".
295:
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
3116:
318:
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
905:
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.
474:
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
419:
856:. 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
4060:
3839:
782:
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.
3789:
3589:
1814:
722:, including purely functional ones (ignoring the question of whether purely functional artefacts exist). The identification of individual styles of artists or
3046:
1410:
667:" suggesting a distanced relationship between the style of the work and Rembrandt's own style. The "Explanation of Cataloguing Practice" of the auctioneers
224:
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:
556:
3844:
457:
3552:
1497:
1788:
987:
307:
620:'s manner of penciling was so peculiar to himself, that his work needed no signature". Examples of strongly individual styles include: the
3866:
2328:
1496:
as "Manner of
Rembrandt Harmensz. van Rijn", is now attributed in their notes to "an anonymous eighteenth-century follower of Rembrandt".
761:
techniques cannot be used, in particular where only stone, ceramic or metal artefacts or remains are available, which is often the case.
601:, brings a new area within the ambit of personal style; the ideal of Western calligraphy tends to be to suppress individual style, while
3988:
3304:
715:
372:
In architecture stylistic change often follows, and is made possible by, the discovery of new techniques or materials, from the Gothic
3998:
3888:
1675:
94:
that relates to other works with similar aesthetic roots, by the same artist, or from the same period, training, location, "school",
4056:
3822:
2267:
2232:
2215:
2160:
2142:
2080:
1598:
1152:
914:
1120:
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
516:", a group who centre in the art trade and museums, often with tensions between them and the community of academic art historians.
4052:
4023:
3966:
1430:"Pop art | Characteristics, Definition, Style, Movement, Types, Artists, Paintings, Prints, Examples, Lichtenstein, & Facts"
4109:
2947:
2640:
2210:. Pennsylvania: Pennsylvania State University Press, 1996. (Chapter on "Style and History in Art History", pp. 171–198.)
2109:
1932:
2284:
2177:
2105:
2020:
1986:
1972:
1947:
1740:
1655:
1622:
771:
315:(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."
126:
styles. Style often develops in a series of jumps, with relatively sudden changes followed by periods of slower development.
1489:
3976:
3665:
2625:
2550:
1411:
https://museumsandcollections.unimelb.edu.au/__data/assets/pdf_file/0003/2942274/13_Ritchie_Gainsboroughs-signature-22.pdf
3993:
3827:
3629:
3249:
3176:
2024:
1995:
398:
1659:
1626:
244:
set out a hugely influential but much-questioned account of the development of style in
Italian painting (mainly) from
4124:
3983:
3961:
3782:
2272:
930:
779:
578:
it is just as deeply held, but traditionally regarded as a factor in the appreciation of some types of art, above all
2146:
67:
4008:
3893:
2775:
2605:
1840:
1460:
284:
182:
this distinction is "not, of course, true in any actual example; but it has proved rhetorically extremely useful".
1264:
925:
Apps such as Deep Art
Effects can turn photos into art-like images claimed to be in the style of painters such as
2482:
1951:
1590:
1541:
947:
536:
323:
272:
depiction of nature and idealization of it; this debate was to continue until the 19th century and the advent of
2760:
1573:
1368:
1256:
Summarized in his article "Evolution of
Ancient Art: Trends in the Style of Greek Vases and Egyptian Painting",
679:" in their auction catalogues means "In our opinion a work executed in the artist's style but of a later date".
4047:
4040:
4018:
3641:
3136:
2920:
2321:
742:
695:
609:
562:
475:
2675:
53:
3971:
3832:
3489:
3297:
3196:
3146:
2700:
2570:
869:
750:
719:
447:
4003:
3946:
3770:
3126:
3076:
2833:
2535:
2401:
1637:
See Elsner, 107 on
Picasso as the paradigm of "the supremely self-conscious poseur in any style you like".
1545:
1098:
classical authors did leave a considerable and subtle body of analysis of style in literature, especially
775:
746:
287:, analysed the stylistic changes in Greek classical art in 1764, comparing them closely to the changes in
99:
4030:
3951:
3936:
3697:
3584:
3547:
3254:
2828:
2781:
2690:
2515:
2488:
2462:
2396:
1282:"Review of The Signature Style of Frans Hals: Painting, Subjectivity, and the Market in Early Modernity"
857:
795:
269:
265:
105:
Style can be divided into the general style of a period, country or cultural group, group of artists or
3816:
2803:
1892:
1866:
1841:"I thrashed the RTX 4090 for 8 hours straight training Stable Diffusion to paint like my uncle Hermann"
1648:
The
Slumber of Apollo: Reflections on Recent Art, Literature, Language and the Individual Consciousness
687:("manner") is a specific phase of the general Renaissance style, but "manner" can be used very widely.
2003:
442:
appears to be in decline, as impatience with such "style labels" grows among art historians. In 2000
4114:
3903:
3856:
3653:
3542:
3361:
3216:
3096:
3086:
2994:
2967:
2870:
2650:
2391:
2289:
504:
Traditional art history has also placed great emphasis on the individual style, sometimes called the
423:, 1962) have made notable contributions to the debate, which has also drawn on wider developments in
341:
119:
3956:
3898:
3777:
3692:
3331:
3259:
3226:
3201:
3036:
2984:
2798:
2755:
2745:
2715:
2695:
2580:
2432:
2386:
2381:
2376:
2371:
2314:
2130:
617:
594:
579:
377:
366:
2670:
4078:
3861:
3687:
3537:
3290:
3221:
3211:
3181:
3156:
2942:
2880:
2740:
2540:
2447:
2366:
2351:
1767:
1713:
1317:
1309:
942:
711:
1044:
goes further "No human acts escape style", Kubler in Lang, 167; II, 3 in his list; Elkins, s. 2
531:
and others, and have been applied to sculpture and many other types of art, for example by Sir
4104:
4035:
4013:
3941:
3682:
3496:
3415:
3346:
3271:
3231:
3106:
2999:
2973:
2615:
2575:
2530:
2510:
2467:
2442:
2361:
2356:
2280:
2263:
2228:
2211:
2173:
2156:
2138:
2101:
2076:
2016:
1990:
1982:
1968:
1943:
1651:
1618:
1301:
1148:
1140:
983:
731:
663:
for the relationship between a work for sale and that of a well-known artist, with "Manner of
583:
406:
397:, "the normal invocation of style in art history is a depressing affair indeed". According to
353:
102:: "The notion of style has long been historian's principal mode of classifying works of art".
59:
44:
2063:
3915:
3717:
3712:
3702:
3501:
3371:
2735:
2685:
2630:
2545:
2477:
2055:
2045:
1999:
1615:
A Medieval Book of Beasts: The Second-Family Bestiary, Commentary, Art, Text And Translation
1293:
957:
952:
894:
887:
641:
586:, but not others, such as Chinese porcelain; a distinction also often seen in the so-called
528:
520:
498:
478:
327:
27:
Visual appearance of a creative work, shared with other works of the same movement or school
1703:
See also Gombrich, 140, commenting in 1968 that no such analysis was feasible at that time.
790:
485:
principles. However this cannot be said to have gained much support among art historians.
190:
4073:
3883:
3851:
3745:
3722:
3437:
2620:
2560:
2437:
2189:
1920:
1602:
1577:
1562:
1504:
1493:
1482:
1464:
1417:
1372:
1268:
861:
818:
758:
754:
738:
649:
587:
436:
424:
394:
358:
349:
296:
288:
233:
115:
1595:
574:
However the idea of personal style is certainly not limited to the Western tradition. In
4119:
3737:
3727:
3624:
3506:
3341:
3206:
3186:
3056:
2813:
2765:
2725:
2660:
2610:
2590:
2525:
2297:
2237:
2220:
2165:
2123:, Vol. 86, No. 2 (Apr., 2000), pp. 323–324, Catholic University of America Press,
2029:
1011:
828:
550:
541:
461:
443:
410:
402:
241:
86:
distinctive manner which permits the grouping of works into related categories" or "...
4098:
3876:
3765:
3755:
3677:
3516:
3511:
3410:
3236:
3026:
2885:
2808:
2750:
2665:
2645:
2505:
2457:
2086:
1956:
1516:
1321:
1041:
1007:
668:
645:
637:
625:
567:
509:
414:
280:
49:
2043:
Gotlieb, Marc, "The Painter's Secret: Invention and Rivalry from Vasari to Balzac",
2015:, Nelson, Robert S. and Shiff, Richard, 2nd Edn. 2010, University of Chicago Press,
860:
is an example of a highly stylized prehistoric depiction of a horse. Motifs in the
3760:
3442:
3366:
2840:
2705:
2585:
2565:
2417:
848:
546:
532:
148:
106:
95:
3067:
A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful
745:(shape) of individual artefacts is the starting point. This is used to construct
220:
did not greatly develop a concept of style in art, or analysis of it, and though
4083:
3871:
3750:
3672:
3636:
3619:
3609:
3574:
3452:
3425:
3420:
3381:
3376:
3313:
3282:
3009:
2962:
2818:
2770:
2730:
2680:
2472:
2068:
1486:
975:
898:
853:
727:
707:
699:
633:
575:
513:
345:
331:
319:
292:
221:
203:
195:
171:
167:
130:
75:
2294:
Principles of Art History. The Problem of the Development of Style in Later Art
3910:
3805:
3660:
3648:
3614:
3569:
3559:
3462:
3457:
2979:
2957:
2850:
2635:
2595:
2555:
2422:
2337:
2008:
1928:
1893:"These artists found out their work was used to train AI. Now they're furious"
1789:"DALL-E can now help you imagine what's outside the frame of famous paintings"
1313:
1281:
835:
602:
524:
428:
336:
217:
208:
179:
123:
1305:
1260:, Vol. 16, No. 1(31) (Spring 1990), pp. 31–47, University of Illinois Press,
3579:
3469:
3386:
3317:
2890:
2860:
2655:
2600:
2520:
2452:
843:
714:, period or cultural style remains a crucial tool in the identification and
680:
664:
660:
598:
482:
466:
373:
301:
273:
249:
39:
31:
1714:"A.I. photo filters use neural networks to make photos look like Picassos"
933:, using specifiable art styles has become a widespread tool in the 2020s.
3810:
3707:
3447:
3432:
3403:
3356:
3191:
2925:
2875:
2855:
2720:
1429:
1099:
926:
918:
865:
757:
based on style for a site or group of sites is achieved where scientific
726:
has also been proposed in some cases even for remote periods such as the
591:
446:, a leading art historian of 16th-century Italian painting and mentee of
253:
199:
2252:
2251:, Vol. 25, No. 2 (1988), pp. 47–60; University of Wisconsin Press,
2124:
2036:, ed. D. L. Sills, xv (New York, 1968), reprinted in Preziosi, D. (ed.)
1815:"With Stable Diffusion, you may never believe what you see online again"
1457:
1261:
450:(1914–1997), who invented the term, was criticised by a reviewer of her
268:
he continued classical debates over the best balance in art between the
17:
3564:
3474:
3351:
3336:
3004:
2952:
2910:
2895:
2865:
2427:
2050:
902:
882:
877:
839:
823:
766:
723:
629:
386:
152:
110:
2197:
2002:, Oxford Art Online, Oxford University Press, accessed March 6, 2013,
1570:
890:
not intended as finished works for sale will also very often stylize.
3532:
3484:
3479:
3398:
2937:
2915:
2845:
2823:
1476:
Christie's "Explanation of Cataloguing Practice" (after lot listings)
1362:
893:"Stylized" may mean the adoption of any style in any context, and in
621:
261:
245:
160:
156:
2255:; pp. 50–51 discuss the difficulty of capturing style in words.
1544:
can be used for much ceramic material, and the developing method of
570:
as "Manner of Rembrandt Harmensz van Rijn" and sold for £750 in 2010
493:"Signature style" redirects here. For the American company known as
216:
Classical art criticism and the relatively few medieval writings on
1772:
1383:
Gotlieb, throughout; 469–475 on Vasari and van Eyck; 469 on Seurat.
1297:
1032:
Elkins, s. 2; Kubler in Lang, 163–164; Alpers in Lang, 137–138; 161
3393:
2710:
789:
762:
694:
555:
189:
58:
38:
2117:
After Raphael: Painting in Central Italy in the Sixteenth Century
1569:, Vol. 58, No. 4 (Oct., 1993), Society for American Archaeology,
452:
After Raphael: Painting in Central Italy in the Sixteenth Century
2931:
2905:
322:, with important writers on the broad theory of style including
3286:
2310:
2900:
2247:
Sher, Yakov A.; "On the Sources of the Scythic Animal Style",
1964:
91:
2306:
2296:, Translated from 7th German Edition (1929) into English by
212:(1893) traced the evolution and transmission of such motifs.
166:
Western art, like that of some other cultures, most notably
872:
are often highly stylized versions of the parts of plants.
30:"Art style" redirects here. For the video game series, see
1565:
and Christine Hastorf (see further reading), pp. 779–780,
749:
for different types of artefacts, and by the technique of
545:
in art history from Vasari's probably mythical account of
1521:
The Shape of Time : Remarks on the History of Things
1147:, Continuum International Publishing Group, p. 262,
2242:
Theory and Philosophy of Art: Style, Artist, and Society
1343:
Alpers in Lang, 139, a situation she sees as problematic
1071:
Gombrich, 131; Honour & Fleming, 13–14; Elkins, s. 2
846:
very often use stylized representations, so for example
2075:. 7th edition. London: Laurence King Publishing, 2009,
1741:"From Camera Roll to Canvas: Make Art From Your Photos"
1014:(with whom he disagrees), quoted by Alpers in Lang, 138
2208:
Replications: Archaeology, Art History, Psychoanalysis
3117:
The Work of Art in the Age of Mechanical Reproduction
2300:, Dover Publications New York, 1950 and many reprints
1931:, (Ithaca: Cornell University Press, 1987), 137–162,
1352:
Exemplified in grumbling by Grosvenor; Crane, 214–216
917:
in Michigan, a computer analysed approximately 1,000
605:, which relies upon it, regards itself as a science.
876:
noticed by the viewer, except on close examination.
852:
use highly stylized depictions, as does traditional
3929:
3798:
3736:
3600:
3525:
3324:
3169:
3018:
2791:
2498:
2410:
2344:
481:, who has proposed an evolutionary theory based on
432:comment would hardly be applicable to archaeology.
420:
The Shape of Time: Remarks on the History of Things
305:, but he never actually used the word, although in
2049:, Vol. 84, No. 3 (Sep., 2002), pp. 469–490,
2034:International Encyclopedia of the Social Sciences
1690:This is a summary of an article appearing in the
1229:Elkins, s. 2; analysed by Kubler in Lang, 164–165
1220:Elkins, s. 2 (quoted); see also Gombrich, 135–136
980:Art History and its Methods: A critical anthology
2303:See also the lists at Elsner, 108–109 and Elkins
1669:
1667:
3790:Timeline of 20th century printmaking in America
2196:, 1990, Cambridge: Cambridge University Press,
1867:"Dear Artists: Do Not Fear AI Image Generators"
264:colour. With other Renaissance theorists like
66:(1907), also by Picasso in a different style ("
1692:ACM Journal on Computing and Cultural Heritage
1193:Gombrich, 131–136; Elkins, s. 2; Rawson, 24–25
1129:Elkins, s. 2; Preziosi, 115–117; Gombrich, 136
3298:
2322:
1676:"Computers Match Humans in Understanding Art"
794:Aerial view of the very stylized prehistoric
8:
3047:The Literary Mind and the Carving of Dragons
2153:The Art of Art History: A Critical Anthology
2038:The Art of Art History: A Critical Anthology
718:not only of works of art but all classes of
1650:, p. 30, 1983, Cambridge University Press,
1456:, Vol. 3, No. 6 (Mar., 1918), pp. 506–511,
527:paintings. His techniques were adopted by
348:continuing the debate in the 20th century.
52:, 1903; falling under the "style label" of
3305:
3291:
3283:
2329:
2315:
2307:
2244:, New York: Georg Braziller, 1995), 51–102
2170:Chinese Ornament: The lotus and the dragon
2100:, 1987, Ithaca: Cornell University Press,
361:, or the study of forms or shapes in art.
252:period. He stressed the development of a
2260:The Aesthetics and Multimodality of Style
2155:, Oxford: Oxford University Press, 1998,
2040:(see below), whose page numbers are used.
1771:
2227:. Cambridge, Mass. The MIT Press, 1995.
1942:, University of California Press, 1997,
1452:"What Is Poetry?", "Petronius Arbiter",
929:. With the development of sophisticated
464:'s very individual technique and style,
456:
129:After dominating academic discussion in
968:
2112:; includes essays by Alpers and Kubler
1739:Biersdorfer, J. D. (4 December 2019).
1487:this painting, sold by Bonhams in 2011
909:Computer identification and recreation
2172:, 1984, British Museum Publications,
308:Lectures on the Philosophy of History
7:
2258:Siefkes, Martin, Arielli, Emanuele,
2198:Review by Clemency Chase Coggins in
1979:Museums and Memory, Cultural Sitings
2091:Towards a Reductive Theory of Style
2058:, "On connoisseurship", article in
1981:, 2000, Stanford University Press,
1961:Artistic Theory in Italy, 1450–1600
1787:Vincent, James (5 September 2022).
838:, as well as popular forms such as
260:or line-based drawing, rather than
174:, which covers the subject and the
3889:Index of painting-related articles
2192:, Hastorf, Christine Anne (eds.),
1923:, "Style is What You Make It", in
1813:Edwards, Benj (6 September 2022).
25:
982:. London: Phaidon, 1995, p. 361.
915:Lawrence Technological University
710:, despite modern techniques like
3265:
2194:The Uses of Style in Archaeology
2115:Murphy, Caroline P., Review of:
1938:Bahn, Paul G. and Vertut, Jean,
1891:Metz, Rachel (21 October 2022).
1559:The Uses of Style in Archaeology
198:ornament in ivory, centred on a
2137:, 2020, Zone Books, MIT Press,
1839:James, Dave (27 October 2022).
1498:This example sold by Christie's
2262:, 2018, New York, Peter Lang,
2121:The Catholic Historical Review
2013:Critical Terms for Art History
1617:, p. 54, 2006, Boydell Press,
1139:Glenn Alexander Magee (2011),
772:culture-historical archaeology
1:
2064:on "art History News" website
1557:Review by Mary Ann Levine of
931:text-to-image AI art software
702:stone tools grouped by period
3828:Museum collection management
3751:Art history (academic study)
3630:alternative exhibition space
3177:Aestheticization of politics
2200:Journal of Field Archaeology
1364:Dictionary of Art Historians
510:valuation for the art market
3989:Colossal sculptures in situ
3693:Artist-in-residence program
1963:, 1940 (refs to 1985 edn),
1940:Journey Through the Ice Age
1166:Elkins, s. 2, 3; Rawson, 24
1089:Elsner, 107–108, 108 quoted
1062:Elsner, 106–107, 107 quoted
780:post-processual archaeology
683:, derived from the Italian
549:to the secretive habits of
4141:
3999:Contemporary art galleries
3894:Outline of the visual arts
2277:Style in the Arts of China
1865:Ford, Paul (Nov 3, 2022).
1507:fetched only £750 in 2010.
1184:Gombrich, 129; Elsner, 104
834:Ancient, traditional, and
492:
285:Johann Joachim Winckelmann
29:
4069:
3245:
1591:Great Soviet Encyclopedia
1542:Thermoluminescence dating
948:Composition (visual arts)
435:The use of terms such as
324:Carl Friedrich von Rumohr
64:Les Demoiselles d'Avignon
4053:Most expensive paintings
3840:Conservation-restoration
3642:Contemporary art gallery
2032:. "Style" (1968), orig.
1080:Honour & Fleming, 13
1010:summarizing the view of
913:In a 2012 experiment at
778:and finally the rise of
563:Christ among the Doctors
476:behavioural psychologist
178:of the work, though for
122:to the rapid changes in
68:Picasso's African Period
4061:works by living artists
3823:Classificatory disputes
3197:Evolutionary aesthetics
3147:The Aesthetic Dimension
1548:may become widely used.
1434:Encyclopedia Britannica
1392:Rawson, 92–102; 111–119
1280:Suffern, Erika (2013).
1102:; see Gombrich, 130–131
901:style of names, as in "
720:archaeological artefact
448:Sydney Joseph Freedberg
4110:Concepts in aesthetics
3127:Avant-Garde and Kitsch
3077:Lectures on Aesthetics
2135:Anachronic Renaissance
2129:Nagel, Alexander, and
2073:A World History of Art
1546:Rehydroxylation dating
897:is often used for the
799:
776:processual archaeology
703:
571:
471:
239:
213:
186:History of the concept
100:archaeological culture
71:
56:
3698:Artist-run initiative
3585:Visual arts education
3272:Philosophy portal
2225:Three Essays on Style
1674:Suzanne Tracy (ed.),
1588:"Stylization" in the
1532:Bahn & Vertut, 89
1286:Renaissance Quarterly
858:Uffington White Horse
796:Uffington White Horse
793:
698:
614:Anecdotes of Painters
559:
460:
313:der Geist seiner Zeit
311:, he uses the phrase
266:Leon Battista Alberti
226:
193:
62:
54:Picasso's Blue Period
42:
3994:Contemporary artists
3857:Destination painting
3654:Single-artist museum
3543:Conservator-restorer
3217:Philosophy of design
3097:In Praise of Shadows
3087:The Critic as Artist
2131:Wood, Christopher S.
2098:The Concept of Style
2071:& John Fleming.
2060:Fine Art Connoisseur
1977:Crane, Susan A. ed,
1925:The Concept of Style
1680:Scientific Computing
1366:: "Giovanni Morelli"
1258:Visual Arts Research
1145:The Hegel Dictionary
691:Style in archaeology
595:in the Islamic world
376:to modern metal and
367:architectural styles
147:derision, including
120:Ancient Egyptian art
3984:Art reference books
3778:History of painting
3362:Fine-art photograph
3227:Philosophy of music
3202:Mathematical beauty
2249:Arctic Anthropology
2190:Conkey, Margaret W.
2151:Preziosi, D. (ed.)
2119:by Marcia B. Hall,
2096:Lang, Berel (ed.),
1613:Clark, Willene B.,
1596:The Free Dictionary
1211:Alpers in Lang, 137
1202:Kubler in Lang, 163
737:As in art history,
537:Attic vase painting
378:reinforced concrete
70:") four years later
4125:Visual arts theory
4079:Visual arts portal
4009:National galleries
3862:Eclecticism in art
3817:Catalogue raisonné
3688:Artist cooperative
3222:Philosophy of film
3212:Patterns in nature
3182:Applied aesthetics
3157:Why Beauty Matters
2943:Life imitating art
2804:Art for art's sake
2290:Wölfflin, Heinrich
2202:,1992), from JSTOR
2085:"Kubler in Lang":
1919:"Alpers in Lang":
1745:The New York Times
1720:. 18 November 2019
1601:2013-06-07 at the
1594:, 1979, online at
1576:2016-09-20 at the
1567:American Antiquity
1503:2013-05-25 at the
1492:2013-05-22 at the
1481:2016-03-05 at the
1463:2018-12-15 at the
1416:2021-10-27 at the
1371:2018-11-06 at the
1267:2016-09-20 at the
1111:Nagel and Wood, 92
943:Artistic rendering
800:
712:radiocarbon dating
704:
572:
472:
214:
72:
57:
4092:
4091:
3683:Artist collective
3497:Site-specific art
3347:Cultural artifact
3280:
3279:
3232:Psychology of art
3107:Art as Experience
2279:, 1974, Penguin,
2108:, 9780801494390,
2056:Grosvenor, Bendor
2023:, 9780226571690,
1989:, 9780804735643,
1950:, 9780520213067,
1658:, 9780521248044,
1625:, 9780851156828,
988:978-0-7148-2991-3
732:Upper Paleolithic
671:' explains that "
584:literati painting
354:Josef Strzygowski
342:Heinrich Wölfflin
16:(Redirected from
4132:
4048:Stolen paintings
3916:Sociology of art
3867:Economics of art
3718:Sculpture garden
3703:Artist-run space
3502:Social sculpture
3372:Installation art
3307:
3300:
3293:
3284:
3270:
3269:
3268:
3162:
3152:
3142:
3132:
3122:
3112:
3102:
3092:
3082:
3072:
3062:
3052:
3042:
3032:
2331:
2324:
2317:
2308:
2046:The Art Bulletin
2000:Grove Art Online
1921:Alpers, Svetlana
1908:
1907:
1905:
1903:
1888:
1882:
1881:
1879:
1877:
1862:
1856:
1855:
1853:
1851:
1836:
1830:
1829:
1827:
1825:
1810:
1804:
1803:
1801:
1799:
1784:
1778:
1777:
1775:
1762:
1756:
1755:
1753:
1751:
1736:
1730:
1729:
1727:
1725:
1710:
1704:
1701:
1695:
1689:
1688:
1686:
1671:
1662:
1646:Holloway, John,
1644:
1638:
1635:
1629:
1611:
1605:
1586:
1580:
1555:
1549:
1539:
1533:
1530:
1524:
1514:
1508:
1473:
1467:
1450:
1444:
1443:
1441:
1440:
1426:
1420:
1408:
1402:
1399:
1393:
1390:
1384:
1381:
1375:
1359:
1353:
1350:
1344:
1341:
1335:
1332:
1326:
1325:
1277:
1271:
1254:
1248:
1245:
1239:
1236:
1230:
1227:
1221:
1218:
1212:
1209:
1203:
1200:
1194:
1191:
1185:
1182:
1176:
1173:
1167:
1164:
1158:
1157:
1136:
1130:
1127:
1121:
1118:
1112:
1109:
1103:
1096:
1090:
1087:
1081:
1078:
1072:
1069:
1063:
1060:
1054:
1051:
1045:
1039:
1033:
1030:
1024:
1021:
1015:
1005:
999:
996:
990:
973:
958:Posthumanist art
895:American English
817:in (non-Oxford)
730:of the European
676:
642:Vincent Van Gogh
566:, catalogued by
529:Bernard Berenson
521:Giovanni Morelli
499:Signature Styles
495:Signature Styles
489:Individual style
479:Colin Martindale
328:Gottfried Semper
279:The theorist of
231:
89:
85:
21:
4140:
4139:
4135:
4134:
4133:
4131:
4130:
4129:
4095:
4094:
4093:
4088:
4074:Painting portal
4065:
3972:sculpture parks
3925:
3884:Elements of art
3852:Cultural policy
3794:
3746:Timeline of art
3732:
3723:Sculpture trail
3602:
3596:
3521:
3438:Performance art
3320:
3311:
3281:
3276:
3266:
3264:
3241:
3165:
3160:
3150:
3140:
3137:Critical Essays
3130:
3120:
3110:
3100:
3090:
3080:
3070:
3060:
3050:
3040:
3030:
3014:
2787:
2701:Ortega y Gasset
2494:
2406:
2340:
2335:
2273:Watson, William
2238:Schapiro, Meyer
2221:Panofsky, Erwin
2186:
2184:Further reading
2166:Rawson, Jessica
2004:subscriber link
1916:
1911:
1901:
1899:
1890:
1889:
1885:
1875:
1873:
1864:
1863:
1859:
1849:
1847:
1838:
1837:
1833:
1823:
1821:
1812:
1811:
1807:
1797:
1795:
1786:
1785:
1781:
1764:
1763:
1759:
1749:
1747:
1738:
1737:
1733:
1723:
1721:
1712:
1711:
1707:
1702:
1698:
1684:
1682:
1673:
1672:
1665:
1645:
1641:
1636:
1632:
1612:
1608:
1603:Wayback Machine
1587:
1583:
1578:Wayback Machine
1563:Margaret Conkey
1556:
1552:
1540:
1536:
1531:
1527:
1515:
1511:
1505:Wayback Machine
1494:Wayback Machine
1483:Wayback Machine
1474:
1470:
1465:Wayback Machine
1451:
1447:
1438:
1436:
1428:
1427:
1423:
1418:Wayback Machine
1409:
1405:
1400:
1396:
1391:
1387:
1382:
1378:
1373:Wayback Machine
1360:
1356:
1351:
1347:
1342:
1338:
1333:
1329:
1279:
1278:
1274:
1269:Wayback Machine
1255:
1251:
1246:
1242:
1237:
1233:
1228:
1224:
1219:
1215:
1210:
1206:
1201:
1197:
1192:
1188:
1183:
1179:
1174:
1170:
1165:
1161:
1155:
1138:
1137:
1133:
1128:
1124:
1119:
1115:
1110:
1106:
1097:
1093:
1088:
1084:
1079:
1075:
1070:
1066:
1061:
1057:
1052:
1048:
1040:
1036:
1031:
1027:
1022:
1018:
1006:
1002:
997:
993:
974:
970:
966:
939:
911:
862:decorative arts
819:British English
788:
759:absolute dating
755:relative dating
739:formal analysis
693:
674:
657:
650:Jackson Pollock
588:decorative arts
506:signature style
502:
497:2009–2012, see
491:
425:critical theory
395:Svetlana Alpers
350:Paul Jacobsthal
289:Renaissance art
256:style based on
237:sophistication.
229:
188:
140:
116:prehistoric art
87:
83:
37:
28:
23:
22:
15:
12:
11:
5:
4138:
4136:
4128:
4127:
4122:
4117:
4112:
4107:
4097:
4096:
4090:
4089:
4087:
4086:
4081:
4076:
4070:
4067:
4066:
4064:
4063:
4050:
4045:
4044:
4043:
4033:
4028:
4027:
4026:
4024:by nationality
4021:
4011:
4006:
4004:Modern artists
4001:
3996:
3991:
3986:
3981:
3980:
3979:
3974:
3969:
3964:
3954:
3949:
3947:Art techniques
3944:
3939:
3933:
3931:
3927:
3926:
3924:
3923:
3918:
3913:
3908:
3907:
3906:
3901:
3891:
3886:
3881:
3880:
3879:
3874:
3864:
3859:
3854:
3849:
3848:
3847:
3837:
3836:
3835:
3833:deaccessioning
3825:
3820:
3813:
3808:
3802:
3800:
3796:
3795:
3793:
3792:
3787:
3786:
3785:
3775:
3774:
3773:
3763:
3758:
3753:
3748:
3742:
3740:
3738:History of art
3734:
3733:
3731:
3730:
3728:Virtual museum
3725:
3720:
3715:
3710:
3705:
3700:
3695:
3690:
3685:
3680:
3675:
3670:
3669:
3668:
3658:
3657:
3656:
3646:
3645:
3644:
3634:
3633:
3632:
3625:Art exhibition
3622:
3617:
3612:
3606:
3604:
3598:
3597:
3595:
3594:
3593:
3592:
3582:
3577:
3572:
3567:
3562:
3557:
3556:
3555:
3550:
3540:
3535:
3529:
3527:
3523:
3522:
3520:
3519:
3514:
3509:
3507:Soft sculpture
3504:
3499:
3494:
3493:
3492:
3487:
3482:
3477:
3467:
3466:
3465:
3455:
3450:
3445:
3440:
3435:
3430:
3429:
3428:
3423:
3418:
3408:
3407:
3406:
3401:
3391:
3390:
3389:
3379:
3374:
3369:
3364:
3359:
3354:
3349:
3344:
3342:Conceptual art
3339:
3334:
3328:
3326:
3322:
3321:
3312:
3310:
3309:
3302:
3295:
3287:
3278:
3277:
3275:
3274:
3262:
3257:
3252:
3246:
3243:
3242:
3240:
3239:
3234:
3229:
3224:
3219:
3214:
3209:
3207:Neuroesthetics
3204:
3199:
3194:
3189:
3187:Arts criticism
3184:
3179:
3173:
3171:
3167:
3166:
3164:
3163:
3153:
3143:
3133:
3123:
3113:
3103:
3093:
3083:
3073:
3063:
3057:On the Sublime
3053:
3043:
3033:
3022:
3020:
3016:
3015:
3013:
3012:
3007:
3002:
2997:
2992:
2987:
2982:
2977:
2970:
2965:
2960:
2955:
2950:
2945:
2940:
2935:
2928:
2923:
2921:Interpretation
2918:
2913:
2908:
2903:
2898:
2893:
2888:
2883:
2878:
2873:
2868:
2863:
2858:
2853:
2848:
2843:
2838:
2837:
2836:
2831:
2821:
2816:
2814:Artistic merit
2811:
2806:
2801:
2795:
2793:
2789:
2788:
2786:
2785:
2778:
2773:
2768:
2763:
2758:
2753:
2748:
2743:
2738:
2733:
2728:
2723:
2718:
2713:
2708:
2703:
2698:
2693:
2688:
2683:
2678:
2673:
2668:
2663:
2658:
2653:
2648:
2643:
2638:
2633:
2628:
2623:
2618:
2613:
2608:
2603:
2598:
2593:
2588:
2583:
2578:
2573:
2568:
2563:
2558:
2553:
2548:
2543:
2538:
2533:
2528:
2523:
2518:
2513:
2508:
2502:
2500:
2496:
2495:
2493:
2492:
2485:
2480:
2475:
2470:
2465:
2463:Psychoanalysis
2460:
2455:
2450:
2445:
2440:
2435:
2430:
2425:
2420:
2414:
2412:
2408:
2407:
2405:
2404:
2399:
2394:
2389:
2384:
2379:
2374:
2369:
2364:
2359:
2354:
2348:
2346:
2342:
2341:
2336:
2334:
2333:
2326:
2319:
2311:
2305:
2304:
2301:
2287:
2270:
2256:
2245:
2240:, "Style", in
2235:
2218:
2204:
2185:
2182:
2181:
2180:
2163:
2149:
2127:
2113:
2094:
2087:Kubler, George
2083:
2066:
2053:
2041:
2027:
2006:
1993:
1975:
1954:
1936:
1915:
1912:
1910:
1909:
1883:
1857:
1831:
1805:
1779:
1757:
1731:
1718:Digital Trends
1705:
1696:
1663:
1639:
1630:
1606:
1581:
1550:
1534:
1525:
1517:Kubler, George
1509:
1468:
1445:
1421:
1403:
1394:
1385:
1376:
1354:
1345:
1336:
1327:
1314:10.1086/670435
1298:10.1086/670435
1292:(1): 212–214.
1272:
1249:
1240:
1231:
1222:
1213:
1204:
1195:
1186:
1177:
1168:
1159:
1153:
1131:
1122:
1113:
1104:
1091:
1082:
1073:
1064:
1055:
1046:
1034:
1025:
1016:
1012:Meyer Schapiro
1000:
991:
967:
965:
962:
961:
960:
955:
950:
945:
938:
935:
910:
907:
787:
784:
692:
689:
656:
653:
610:Edward Edwards
551:Georges Seurat
490:
487:
462:Georges Seurat
444:Marcia B. Hall
411:Ernst Gombrich
407:James Ackerman
403:Meyer Schapiro
340:of 1893, with
242:Giorgio Vasari
187:
184:
139:
136:
26:
24:
14:
13:
10:
9:
6:
4:
3:
2:
4137:
4126:
4123:
4121:
4118:
4116:
4113:
4111:
4108:
4106:
4103:
4102:
4100:
4085:
4082:
4080:
4077:
4075:
4072:
4071:
4068:
4062:
4058:
4054:
4051:
4049:
4046:
4042:
4039:
4038:
4037:
4034:
4032:
4031:Photographers
4029:
4025:
4022:
4020:
4017:
4016:
4015:
4012:
4010:
4007:
4005:
4002:
4000:
3997:
3995:
3992:
3990:
3987:
3985:
3982:
3978:
3977:single artist
3975:
3973:
3970:
3968:
3965:
3963:
3960:
3959:
3958:
3955:
3953:
3952:Art movements
3950:
3948:
3945:
3943:
3940:
3938:
3937:Art magazines
3935:
3934:
3932:
3928:
3922:
3919:
3917:
3914:
3912:
3909:
3905:
3902:
3900:
3897:
3896:
3895:
3892:
3890:
3887:
3885:
3882:
3878:
3877:art valuation
3875:
3873:
3870:
3869:
3868:
3865:
3863:
3860:
3858:
3855:
3853:
3850:
3846:
3843:
3842:
3841:
3838:
3834:
3831:
3830:
3829:
3826:
3824:
3821:
3819:
3818:
3814:
3812:
3809:
3807:
3804:
3803:
3801:
3797:
3791:
3788:
3784:
3781:
3780:
3779:
3776:
3772:
3769:
3768:
3767:
3764:
3762:
3761:Art movements
3759:
3757:
3756:Art manifesto
3754:
3752:
3749:
3747:
3744:
3743:
3741:
3739:
3735:
3729:
3726:
3724:
3721:
3719:
3716:
3714:
3711:
3709:
3706:
3704:
3701:
3699:
3696:
3694:
3691:
3689:
3686:
3684:
3681:
3679:
3678:Arts festival
3676:
3674:
3671:
3667:
3664:
3663:
3662:
3659:
3655:
3652:
3651:
3650:
3647:
3643:
3640:
3639:
3638:
3635:
3631:
3628:
3627:
3626:
3623:
3621:
3618:
3616:
3613:
3611:
3608:
3607:
3605:
3599:
3591:
3588:
3587:
3586:
3583:
3581:
3578:
3576:
3573:
3571:
3568:
3566:
3563:
3561:
3558:
3554:
3551:
3549:
3546:
3545:
3544:
3541:
3539:
3536:
3534:
3531:
3530:
3528:
3524:
3518:
3517:Artwork title
3515:
3513:
3512:Stained glass
3510:
3508:
3505:
3503:
3500:
3498:
3495:
3491:
3488:
3486:
3483:
3481:
3478:
3476:
3473:
3472:
3471:
3468:
3464:
3461:
3460:
3459:
3456:
3454:
3451:
3449:
3446:
3444:
3441:
3439:
3436:
3434:
3431:
3427:
3424:
3422:
3419:
3417:
3414:
3413:
3412:
3411:New media art
3409:
3405:
3402:
3400:
3397:
3396:
3395:
3392:
3388:
3385:
3384:
3383:
3380:
3378:
3375:
3373:
3370:
3368:
3365:
3363:
3360:
3358:
3355:
3353:
3350:
3348:
3345:
3343:
3340:
3338:
3335:
3333:
3332:Appropriation
3330:
3329:
3327:
3323:
3319:
3315:
3308:
3303:
3301:
3296:
3294:
3289:
3288:
3285:
3273:
3263:
3261:
3258:
3256:
3253:
3251:
3248:
3247:
3244:
3238:
3237:Theory of art
3235:
3233:
3230:
3228:
3225:
3223:
3220:
3218:
3215:
3213:
3210:
3208:
3205:
3203:
3200:
3198:
3195:
3193:
3190:
3188:
3185:
3183:
3180:
3178:
3175:
3174:
3172:
3168:
3159:
3158:
3154:
3149:
3148:
3144:
3139:
3138:
3134:
3128:
3124:
3118:
3114:
3109:
3108:
3104:
3099:
3098:
3094:
3088:
3084:
3079:
3078:
3074:
3069:
3068:
3064:
3059:
3058:
3054:
3049:
3048:
3044:
3039:
3038:
3034:
3029:
3028:
3027:Hippias Major
3024:
3023:
3021:
3017:
3011:
3008:
3006:
3003:
3001:
2998:
2996:
2993:
2991:
2988:
2986:
2983:
2981:
2978:
2976:
2975:
2971:
2969:
2966:
2964:
2961:
2959:
2956:
2954:
2951:
2949:
2946:
2944:
2941:
2939:
2936:
2934:
2933:
2929:
2927:
2924:
2922:
2919:
2917:
2914:
2912:
2909:
2907:
2904:
2902:
2899:
2897:
2894:
2892:
2889:
2887:
2886:Entertainment
2884:
2882:
2879:
2877:
2874:
2872:
2869:
2867:
2864:
2862:
2859:
2857:
2854:
2852:
2849:
2847:
2844:
2842:
2839:
2835:
2832:
2830:
2827:
2826:
2825:
2822:
2820:
2817:
2815:
2812:
2810:
2809:Art manifesto
2807:
2805:
2802:
2800:
2799:Appropriation
2797:
2796:
2794:
2790:
2784:
2783:
2779:
2777:
2774:
2772:
2769:
2767:
2764:
2762:
2759:
2757:
2754:
2752:
2749:
2747:
2744:
2742:
2739:
2737:
2734:
2732:
2729:
2727:
2724:
2722:
2719:
2717:
2714:
2712:
2709:
2707:
2704:
2702:
2699:
2697:
2694:
2692:
2691:Merleau-Ponty
2689:
2687:
2684:
2682:
2679:
2677:
2674:
2672:
2669:
2667:
2664:
2662:
2659:
2657:
2654:
2652:
2649:
2647:
2644:
2642:
2639:
2637:
2634:
2632:
2629:
2627:
2624:
2622:
2619:
2617:
2614:
2612:
2609:
2607:
2604:
2602:
2599:
2597:
2594:
2592:
2589:
2587:
2584:
2582:
2579:
2577:
2574:
2572:
2569:
2567:
2564:
2562:
2559:
2557:
2554:
2552:
2549:
2547:
2544:
2542:
2539:
2537:
2534:
2532:
2529:
2527:
2524:
2522:
2519:
2517:
2514:
2512:
2509:
2507:
2506:Abhinavagupta
2504:
2503:
2501:
2497:
2491:
2490:
2486:
2484:
2481:
2479:
2476:
2474:
2471:
2469:
2466:
2464:
2461:
2459:
2458:Postmodernism
2456:
2454:
2451:
2449:
2446:
2444:
2441:
2439:
2436:
2434:
2431:
2429:
2426:
2424:
2421:
2419:
2416:
2415:
2413:
2409:
2403:
2400:
2398:
2395:
2393:
2390:
2388:
2385:
2383:
2380:
2378:
2375:
2373:
2370:
2368:
2365:
2363:
2360:
2358:
2355:
2353:
2350:
2349:
2347:
2343:
2339:
2332:
2327:
2325:
2320:
2318:
2313:
2312:
2309:
2302:
2299:
2298:M D Hottinger
2295:
2291:
2288:
2286:
2282:
2278:
2274:
2271:
2269:
2268:9783631739426
2265:
2261:
2257:
2254:
2250:
2246:
2243:
2239:
2236:
2234:
2233:0-262-16151-6
2230:
2226:
2222:
2219:
2217:
2216:0-271-01524-1
2213:
2209:
2205:
2203:
2201:
2195:
2191:
2188:
2187:
2183:
2179:
2175:
2171:
2167:
2164:
2162:
2161:9780714829913
2158:
2154:
2150:
2148:
2144:
2143:9781942130345
2140:
2136:
2132:
2128:
2126:
2122:
2118:
2114:
2111:
2107:
2103:
2099:
2095:
2092:
2088:
2084:
2082:
2081:9781856695848
2078:
2074:
2070:
2067:
2065:
2062:, 2011?, now
2061:
2057:
2054:
2052:
2048:
2047:
2042:
2039:
2035:
2031:
2028:
2026:
2022:
2018:
2014:
2011:, "Style" in
2010:
2007:
2005:
2001:
1998:, "Style" in
1997:
1996:Elkins, James
1994:
1992:
1988:
1984:
1980:
1976:
1974:
1970:
1966:
1962:
1958:
1957:Blunt Anthony
1955:
1953:
1949:
1945:
1941:
1937:
1934:
1930:
1926:
1922:
1918:
1917:
1913:
1898:
1894:
1887:
1884:
1872:
1868:
1861:
1858:
1846:
1842:
1835:
1832:
1820:
1816:
1809:
1806:
1794:
1790:
1783:
1780:
1774:
1769:
1761:
1758:
1746:
1742:
1735:
1732:
1719:
1715:
1709:
1706:
1700:
1697:
1693:
1681:
1677:
1670:
1668:
1664:
1661:
1657:
1653:
1649:
1643:
1640:
1634:
1631:
1628:
1624:
1620:
1616:
1610:
1607:
1604:
1600:
1597:
1593:
1592:
1585:
1582:
1579:
1575:
1572:
1568:
1564:
1560:
1554:
1551:
1547:
1543:
1538:
1535:
1529:
1526:
1522:
1518:
1513:
1510:
1506:
1502:
1499:
1495:
1491:
1488:
1484:
1480:
1477:
1472:
1469:
1466:
1462:
1459:
1455:
1454:The Art World
1449:
1446:
1435:
1431:
1425:
1422:
1419:
1415:
1412:
1407:
1404:
1398:
1395:
1389:
1386:
1380:
1377:
1374:
1370:
1367:
1365:
1361:Elsner, 103;
1358:
1355:
1349:
1346:
1340:
1337:
1331:
1328:
1323:
1319:
1315:
1311:
1307:
1303:
1299:
1295:
1291:
1287:
1283:
1276:
1273:
1270:
1266:
1263:
1259:
1253:
1250:
1244:
1241:
1235:
1232:
1226:
1223:
1217:
1214:
1208:
1205:
1199:
1196:
1190:
1187:
1181:
1178:
1172:
1169:
1163:
1160:
1156:
1154:9781847065919
1150:
1146:
1142:
1135:
1132:
1126:
1123:
1117:
1114:
1108:
1105:
1101:
1095:
1092:
1086:
1083:
1077:
1074:
1068:
1065:
1059:
1056:
1053:Lang, 177–178
1050:
1047:
1043:
1042:George Kubler
1038:
1035:
1029:
1026:
1020:
1017:
1013:
1009:
1008:George Kubler
1004:
1001:
998:Gombrich, 150
995:
992:
989:
985:
981:
977:
972:
969:
963:
959:
956:
954:
953:Mise en scène
951:
949:
946:
944:
941:
940:
936:
934:
932:
928:
923:
920:
916:
908:
906:
904:
900:
896:
891:
889:
885:
884:
879:
873:
871:
867:
863:
859:
855:
851:
850:
845:
841:
837:
832:
830:
826:
825:
820:
816:
812:
808:
804:
797:
792:
785:
783:
781:
777:
773:
768:
764:
760:
756:
752:
748:
744:
740:
735:
733:
729:
725:
721:
717:
713:
709:
701:
697:
690:
688:
686:
682:
678:
670:
666:
662:
654:
652:
651:
647:
646:Drip Painting
643:
639:
638:Impressionist
635:
631:
627:
626:Pablo Picasso
623:
619:
616:(1808): "Mr.
615:
611:
606:
604:
600:
596:
593:
589:
585:
581:
577:
569:
565:
564:
558:
554:
552:
548:
544:
543:
538:
534:
530:
526:
522:
517:
515:
511:
507:
500:
496:
488:
486:
484:
480:
477:
469:
468:
463:
459:
455:
453:
449:
445:
441:
440:
433:
430:
426:
422:
421:
416:
415:George Kubler
412:
408:
404:
400:
396:
390:
389:art history.
388:
384:
379:
375:
370:
368:
362:
360:
355:
351:
347:
343:
339:
338:
333:
329:
325:
321:
316:
314:
310:
309:
304:
303:
298:
294:
290:
286:
282:
281:Neoclassicism
277:
275:
271:
267:
263:
259:
255:
251:
247:
243:
238:
235:
225:
223:
219:
211:
210:
205:
201:
197:
194:14th-century
192:
185:
183:
181:
177:
173:
169:
164:
162:
158:
154:
150:
144:
137:
135:
132:
127:
125:
121:
117:
112:
108:
103:
101:
97:
93:
81:
77:
69:
65:
61:
55:
51:
50:Pablo Picasso
47:
46:
41:
35:
34:
19:
3967:most visited
3920:
3815:
3443:Plastic arts
3367:Found object
3155:
3145:
3135:
3105:
3095:
3075:
3065:
3055:
3045:
3035:
3025:
2989:
2972:
2948:Magnificence
2930:
2780:
2746:Schopenhauer
2581:Coomaraswamy
2499:Philosophers
2487:
2418:Aestheticism
2293:
2276:
2259:
2248:
2241:
2224:
2207:
2199:
2193:
2169:
2152:
2147:google books
2134:
2120:
2116:
2110:google books
2097:
2090:
2072:
2069:Honour, Hugh
2059:
2044:
2037:
2033:
2025:google books
2012:
1991:google books
1978:
1960:
1952:google books
1939:
1933:google books
1924:
1900:. Retrieved
1897:CNN Business
1896:
1886:
1874:. Retrieved
1870:
1860:
1848:. Retrieved
1844:
1834:
1822:. Retrieved
1819:Ars Technica
1818:
1808:
1796:. Retrieved
1792:
1782:
1760:
1748:. Retrieved
1744:
1734:
1722:. Retrieved
1717:
1708:
1699:
1691:
1683:, retrieved
1679:
1660:google books
1647:
1642:
1633:
1627:google books
1614:
1609:
1589:
1584:
1566:
1561:, edited by
1558:
1553:
1537:
1528:
1520:
1512:
1471:
1453:
1448:
1437:. Retrieved
1433:
1424:
1406:
1397:
1388:
1379:
1363:
1357:
1348:
1339:
1330:
1289:
1285:
1275:
1257:
1252:
1243:
1234:
1225:
1216:
1207:
1198:
1189:
1180:
1171:
1162:
1144:
1134:
1125:
1116:
1107:
1094:
1085:
1076:
1067:
1058:
1049:
1037:
1028:
1023:Elkins, s. 1
1019:
1003:
994:
979:
976:Fernie, Eric
971:
924:
912:
892:
886:, and other
881:
874:
864:such as the
849:The Simpsons
847:
833:
822:
814:
810:
806:
802:
801:
736:
705:
684:
672:
658:
618:Gainsborough
613:
612:said in his
608:The painter
607:
573:
561:
560:Painting of
547:Jan van Eyck
540:
533:John Beazley
518:
514:connoisseurs
505:
503:
494:
473:
465:
451:
438:
434:
418:
399:James Elkins
391:
382:
371:
363:
335:
317:
312:
306:
300:
278:
257:
240:
227:
215:
207:
175:
165:
145:
141:
128:
107:art movement
104:
96:art movement
79:
73:
63:
43:
32:
4115:Art history
4084:Arts portal
3957:Art museums
3872:art finance
3673:Arts centre
3637:Art gallery
3620:Art commune
3610:Art auction
3453:Printmaking
3382:Mixed media
3377:Kinetic art
3314:Visual arts
3041:(c. 335 BC)
3031:(c. 390 BC)
3010:Work of art
2963:Picturesque
2819:Avant-garde
2776:Winckelmann
2651:Kierkegaard
2576:Collingwood
2546:Baudrillard
2473:Romanticism
2443:Historicism
2377:Mathematics
2030:Gombrich, E
2009:Elsner, Jas
1685:November 2,
1334:Elsner, 103
1247:Murphy, 324
1141:"Zeitgeist"
899:typographic
854:African art
811:stylisation
803:Stylization
786:Stylization
728:Ice Age art
708:archaeology
700:Paleolithic
634:Andy Warhol
580:calligraphy
576:Chinese art
383:kunstwollen
346:Paul Frankl
332:Alois Riegl
320:art history
293:Georg Hegel
248:to his own
222:Renaissance
204:Alois Riegl
172:iconography
168:Chinese art
131:art history
76:visual arts
4099:Categories
4057:sculptures
3911:Provenance
3806:Art market
3713:Commission
3661:Art school
3649:Art museum
3615:Art colony
3603:and events
3463:street art
3458:Public art
2980:Recreation
2958:Perception
2851:Creativity
2551:Baumgarten
2541:Baudelaire
2423:Classicism
2338:Aesthetics
2285:0140218637
2206:Davis, W.
2178:0714114316
2106:0801494397
2021:0226571696
1987:0804735646
1973:0198810504
1948:0520213068
1929:Berel Lang
1914:References
1902:9 November
1876:9 November
1850:9 November
1824:9 November
1798:9 November
1773:2208.01618
1750:9 November
1724:9 November
1656:0521248043
1623:0851156827
1439:2021-10-13
1401:Rawson, 27
1238:Elsner, 98
1175:Rawson, 24
836:modern art
798:in England
747:typologies
743:morphology
669:Christie's
603:graphology
568:Christie's
525:old master
429:Jas Elsner
427:. In 2010
337:Stilfragen
254:Florentine
218:aesthetics
209:Stilfragen
180:Jas Elsner
124:Modern art
4036:Sculptors
3942:Art media
3904:sculpture
3845:paintings
3766:Criticism
3548:paintings
3538:Collector
3470:Sculpture
3387:bricolage
3318:art world
2985:Reverence
2891:Eroticism
2861:Depiction
2834:Masculine
2736:Santayana
2696:Nietzsche
2641:Hutcheson
2631:Heidegger
2616:Greenberg
2571:Coleridge
2536:Balthasar
2521:Aristotle
2483:Theosophy
2478:Symbolism
2453:Modernism
2438:Formalism
2093:, in Lang
1793:The Verge
1322:163333589
1306:0034-4338
919:paintings
870:arabesque
844:animation
829:realistic
751:seriation
681:Mannerism
673:Manner of
665:Rembrandt
661:art trade
640:style of
632:style of
599:East Asia
483:Darwinian
470:, 1889–90
467:Le Chahut
374:rib vault
359:formalism
302:Zeitgeist
274:Modernism
270:realistic
250:Mannerist
82:is a "...
33:Art Style
4105:Painting
4014:Painters
3899:painting
3811:The arts
3771:feminist
3708:Biennale
3448:Portrait
3433:Painting
3404:graffiti
3357:Fine art
3316:and the
3260:Category
3192:Axiology
3061:(c. 500)
3051:(c. 100)
2926:Judgment
2881:Emotions
2876:Elegance
2856:Cuteness
2829:Feminine
2792:Concepts
2761:Tanizaki
2741:Schiller
2726:Richards
2716:Rancière
2686:Maritain
2621:Hanslick
2561:Benjamin
2433:Feminism
2402:Theology
2382:Medieval
2372:Japanese
2367:Internet
1845:PC Gamer
1599:Archived
1574:Archived
1519:(1962).
1501:Archived
1490:Archived
1479:Archived
1461:Archived
1414:Archived
1369:Archived
1265:Archived
1100:rhetoric
937:See also
927:Van Gogh
903:AT&T
888:sketches
878:Drawings
866:palmette
840:cartoons
815:stylised
807:stylized
724:artisans
592:fine art
437:Counter-
262:Venetian
200:palmette
138:Overview
18:Stylized
4019:by name
3962:largest
3799:Related
3783:outline
3565:Curator
3553:frescos
3490:tallest
3475:carving
3426:virtual
3421:digital
3416:history
3352:Drawing
3337:Collage
3325:Artwork
3255:Outline
3170:Related
3037:Poetics
3005:Tragedy
2995:Sublime
2968:Quality
2953:Mimesis
2911:Harmony
2896:Fashion
2871:Ecstasy
2866:Disgust
2782:more...
2751:Scruton
2676:Lyotard
2611:Goodman
2591:Deleuze
2526:Aquinas
2516:Alberti
2489:more...
2468:Realism
2448:Marxism
2428:Fascism
2411:Schools
2397:Science
2352:Ancient
883:modelli
824:mimesis
767:pottery
741:of the
685:maniera
630:Pop Art
624:art of
439:Maniera
387:Marxist
334:in his
291:, and "
258:disegno
196:Islamic
176:content
153:Baroque
111:Picasso
74:In the
4041:female
3666:Europe
3601:Places
3590:Europe
3580:Patron
3570:Dealer
3560:Critic
3533:Artist
3485:statue
3480:relief
3399:fresco
3161:(2009)
3151:(1977)
3141:(1946)
3131:(1939)
3121:(1935)
3111:(1934)
3101:(1933)
3091:(1891)
3081:(1835)
3071:(1757)
2938:Kitsch
2916:Humour
2846:Comedy
2824:Beauty
2766:Vasari
2756:Tagore
2731:Ruskin
2671:Lukács
2661:Langer
2606:Goethe
2531:Balázs
2511:Adorno
2392:Nature
2357:Africa
2283:
2266:
2231:
2214:
2176:
2159:
2141:
2104:
2079:
2019:
1985:
1971:
1946:
1927:, ed.
1654:
1621:
1320:
1312:
1304:
1151:
986:
763:Sherds
716:dating
675:
655:Manner
628:, the
622:Cubist
330:, and
297:German
246:Giotto
230:
161:Cubism
157:Rococo
155:, and
149:Gothic
88:
84:
45:La Vie
4120:Style
3930:Lists
3921:Style
3575:Model
3526:Roles
3394:Mural
3250:Index
3019:Works
3000:Taste
2990:Style
2771:Wilde
2711:Plato
2706:Pater
2666:Lipps
2626:Hegel
2596:Dewey
2586:Danto
2566:Burke
2387:Music
2362:India
2345:Areas
2253:JSTOR
2125:JSTOR
2051:JSTOR
1871:Wired
1768:arXiv
1571:JSTOR
1458:JSTOR
1318:S2CID
1310:JSTOR
1262:JSTOR
964:Notes
553:.
542:topos
299:word
234:Pliny
80:style
2974:Rasa
2932:Kama
2906:Gaze
2841:Camp
2721:Rand
2656:Klee
2646:Kant
2636:Hume
2556:Bell
2281:ISBN
2264:ISBN
2229:ISBN
2212:ISBN
2174:ISBN
2157:ISBN
2139:ISBN
2102:ISBN
2077:ISBN
2017:ISBN
1983:ISBN
1969:ISBN
1944:ISBN
1904:2022
1878:2022
1852:2022
1826:2022
1800:2022
1752:2022
1726:2022
1687:2012
1652:ISBN
1619:ISBN
1302:ISSN
1149:ISBN
984:ISBN
827:or "
813:and
809:(or
805:and
597:and
582:and
413:and
352:and
344:and
232:...
2901:Fun
2681:Man
2601:Fry
1965:OUP
1294:doi
868:or
842:or
774:to
765:of
706:In
677:...
648:by
535:to
206:'s
159:.
118:or
98:or
92:art
48:by
4101::
4059:,
4055:,
3129:"
3119:"
3089:"
2292:,
2275:,
2223:.
2168:,
2145:,
2133:,
2089:,
1967:,
1959:,
1895:.
1869:.
1843:.
1817:.
1791:.
1743:.
1716:.
1678:,
1666:^
1432:.
1316:.
1308:.
1300:.
1290:66
1288:.
1284:.
1143:,
978:.
880:,
753:a
734:.
644:,
636:,
409:,
405:,
326:,
283:,
276:.
202:;
151:,
78:,
3306:e
3299:t
3292:v
3125:"
3115:"
3085:"
2330:e
2323:t
2316:v
1935:.
1906:.
1880:.
1854:.
1828:.
1802:.
1776:.
1770::
1754:.
1728:.
1442:.
1324:.
1296::
501:.
417:(
36:.
20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
