Art History: Contemporary Perspectives on Method by Dana Arnold

By Dana Arnold

Art heritage: modern views on Method examines a number of the styles and methods to the self-discipline of paintings heritage exhibited around the scholarship of all sessions over the past 30 years, leading to a go component to paintings heritage in all its complexities and a well timed survey of its historiography.

  • Newly commissioned essays via a bunch of foreign students
  • Takes a trans-disciplinary method of the historical past of artwork historical past
  • Each essay provides unique and incisive arguments
  • The essays mix to provide a inspiration frightening re-assessment of the tools of artwork background

Chapter 1 artwork heritage: modern views on technique (pages 1–7): Dana Arnold
Chapter 2 Sexing the Canvas (pages 8–33): Nicholas Chare
Chapter three Phenomenology and Interpretation past the Flesh (pages 34–55): Amanda Boetzkes
Chapter four Surveying modern artwork: Post?War, Postmodern, after which What? (pages 56–77): Dan Karlholm
Chapter five Michel Foucault and the purpose of portray (pages 78–98): Catherine M. Soussloff
Chapter 6 Karl Mannheim and Alois Riegl: From artwork heritage to the Sociology of tradition (pages 99–128): Jeremy Tanner
Chapter 7 artwork Fiction (pages 129–149): H. Perry Chapman
Chapter eight Dancing Years, or Writing as a fashion Out (pages 150–164): Adrian Rifkin

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Extra resources for Art History: Contemporary Perspectives on Method

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See De Tolnay, Michelangelo Volume 2: The Sistine Ceiling, Princeton, NJ, 1945, 62. Gavin Butt, Between You and Me: Queer Disclosures in the New York Art World, 1948–1963, Durham, NC, 2005, 62. David Peters Corbett, The World in Paint: Modern Art and Visuality in England, 1848–1914, Manchester, 2004, 259. Giorgio Vasari, The Lives of the Painters, Sculptors and Architects: Volume 3, trans. A. B. Hinds, London, 1963, 119. Michelangelo’s views on the gendering of oil help explain the comment attributed to him by Francisco de Hollanda that works by Flemish artists ‘will appeal to women’.

Susan Brownmiller has written that ‘the theory of aggressive male domination over women as a natural right is so deeply embedded in our cultural value system that all recent attempts to expose it . . ’95 This exposure has indeed too seldom been applied in art history to the meanings of paint as surface. RESISTING AN EITHER/OR The aggressive masculinity favoured by many proponents of abstract expressionism was not espoused by all artists. Some members of the second generation 25 S E X I N G T H E C A N VA S of the New York school practised very different techniques.

Kriz, The Idea of the English Landscape Painter, 109. David Hill, Thomas Girtin: Genius in the North, Leeds, 1999, 24. Hill, Thomas Girtin, 24. T. J. Clark, Image of the People: Gustave Courbet and the 1848 Revolution, London, 1973, 12. Smith, The Emergence of the Professional Watercolourist, 38. Quoted in Smith, The Emergence of the Professional Watercolourist, 38. Quoted in Smith, The Emergence of the Professional Watercolourist, 38. See the first chapter of Smith’s The Emergence of the Professional Watercolourist for a discussion of the media hierarchy of the time, 13–51.

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