Art History: The Basics

Höfundar: Diana Newall; Grant Pooke (Útgáfa: 2)
Art History: The Basics

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Now in its second edition, this volume is an accessible introduction to the history of art. Using an international range of examples, it provides the reader with a toolkit of concepts, ideas and methods relevant to understanding art history. This new edition is fully updated with colour illustrations, increased coverage of non-western art and extended discussions of contemporary art theory. It introduces key ideas, issues and debates, exploring questions such as: What is art and what is meant by art history? What approaches and methodologies are used to interpret and evaluate art? How have ideas regarding medium, gender, identity and difference informed representation? What perspectives can psychoanalysis, semiotics and social art histories bring to the study of the discipline? How are the processes of postcolonialism, decolonisation and globalisation changing approaches to art history? Complete with helpful subject summaries, a glossary, suggestions for future reading and guidance on relevant image archives, this book is an ideal starting point for anyone studying art history as well as general readers with an interest in the subject.

Nánar um bókina

Útgefandi
Taylor & Francis
ISBN
9781317541165
Print ISBN
9780415856614
Format
ePub
Útgáfa
2
Höfundar
Diana Newall; Grant Pooke
Tungumál
English
Útgefið
2021-03-28
Prent takmörkun á líftíma
100
Prent takmörkun
2
Afritunar takmörkun
2

Kaflar

  • Cover
  • Endorsements
  • Half Title
  • Series Page
  • Title Page
  • Copyright Page
  • Dedication
  • Table of Contents
  • List of figures
  • Acknowledgements
  • Introduction to the second edition
  • 1. Art histories and art theories
  • Introduction
  • What is art?
  • What is art history?
  • The classical concept of ‘art’
  • Plato’s idea of mimesis
  • Issues arising from art as imitation
  • Medieval art and its interpretation
  • Art as imitation in the Renaissance
  • Giorgio Vasari and the origins of western art history
  • Early writing on art
  • Academies and the ‘Hierarchy of Genres’
  • Winckelmann, art history and the western Enlightenment
  • Art as an expression of the ‘will to create’
  • Aesthetic comparison and contrast
  • Connoisseurship and art history
  • The limits of connoisseurship
  • Bell’s theory of ‘significant form’
  • The theory of art as expression
  • Objections to Collingwood’s theory
  • Art as abstraction or idea
  • Art understood as ‘family resemblance’
  • The Institutional Theory of Art
  • Art history in the late nineteenth and early twentieth centuries
  • Art history and the 1930s diaspora
  • British art history, the Courtauld and Warburg Institutes
  • The ‘New Art History’
  • Beyond the ‘New Art History’
  • Summary
  • 2. Formalism, modernism and modernity
  • Introduction
  • Formalist art theories and the avant-garde
  • The formal components of painting and design
  • Abstraction as process
  • Formal language, abstraction and sculpture
  • Observations on formal analysis
  • Formalism as art practice and art theory
  • Roger Fry and a British formalist tradition
  • Avant-garde art and ‘the crisis of taste’
  • Greenberg and the dominance of modernist theory
  • Modernism and the White Cube hang
  • Objections to Greenberg’s modernism
  • Art after Greenberg
  • Summary
  • 3. Marxist and social art histories
  • Introduction
  • Who was Karl Marx?
  • Art as ideology
  • Contextual analyses
  • David and the Paris Salon
  • Reactions and responses to the Horatii
  • The Horatii as political metaphor
  • Iconography and iconology
  • Iconology and ‘intrinsic meaning’
  • Art, alienation and ‘species being’
  • Art as commodity and a ‘deposit of a social relationship’
  • Superstructure and infrastructure
  • Art and agency – ‘life creates consciousness, not consciousness life’
  • David’s Horatii as a revolutionary manifesto
  • The Horatii as a canonical painting of the French Revolution
  • Tendency and social commitment – what should art and artists do?
  • Malevich’s Black Square and the ‘zero of forms’
  • Social interpretation and meaning
  • Art and the ‘social command’: Soviet Socialist Realism and its legacies
  • Social realism in Europe
  • Critical theory, the ‘Frankfurt School’ and Gerhard Richter
  • T. J. Clark and a British Marxist tradition
  • New social and political constellations
  • Summary
  • 4. Semiotics and poststructuralism
  • Introduction
  • Introducing Language and Linguistics
  • Ferdinand de Saussure
  • Charles Sanders Peirce
  • Developments of semiosis
  • Art and semiotics
  • Signs and representations of reality
  • Modalities of the sign
  • Challenging ‘reality’
  • Whose ‘reality’?
  • Structural analysis
  • Syntagmatic analysis of images
  • Discourse and power
  • Discourse and ‘metanarratives’
  • Paradigmatic oppositions
  • Binary oppositions and art
  • Markedness
  • Figurative language
  • Social semiotics
  • Poststructuralism and its critics
  • Summary
  • 5. Psychoanalysis, art and the fractured self
  • Introduction
  • Freud, psychoanalysis and psycho-sexual development
  • The Oedipus complex
  • The psyche’s tripartite structure
  • Instinctual energies, creativity and sublimation
  • Surrealism and psychoanalysis
  • Gombrich and psychoanalysis
  • Klein, Stokes, Fuller and the ‘infant–mother’ paradigm
  • Lacan: the mirror stage; the symbolic, the imaginary and the real
  • Feminist challenges to the Freudian and Lacanian psyche
  • Creativity, sadism and perversion
  • A Freudian postscript: from symptoms to symbols
  • Art and abjection
  • Abjection, ambivalence and contemporary art
  • Summary
  • 6. Representations of gender, sex and sexualities
  • Introduction
  • Defining sex, gender and sexuality
  • Classical representation of the human form
  • Visualising gender difference
  • Gender, status and power
  • Challenges to gender boundaries
  • Viewing the nude
  • The gaze: the pleasure of looking
  • Mary Cassatt’s challenge to the male gaze
  • Caught in the act: subverting the pleasure of the gaze
  • Feminism and art history
  • Feminist interventions in art
  • Expanding feminism
  • Contemporary art history and feminism
  • Gender perspectives on contemporary art
  • Developments in gender studies
  • New paradigms of gender, sex and sexuality
  • Queer theory and LGBTQIA+
  • Beyond gender: the body as sensorium and spectacle
  • Summary
  • 7. Art and art histories since the 1960s
  • Introduction
  • Art and ‘paradigm shifts’
  • Duchamp’s readymades
  • American hegemony and a new order
  • Death of the author
  • Art, objecthood and theatricality
  • Art as commodity and concept
  • The Institutional Theory of Art
  • Limitations of the Institutional Theory
  • Lyotard and the death of the ‘metanarratives’
  • New countercultures for the 1960s and 1970s
  • Photography, cultural reproduction and oppositional postmodern cultures
  • Approaching the postmodern and late modern: how soon is now?
  • The contemporary as ‘critical pluralism’
  • Visual cultures and ‘double-coding’
  • Baudrillard and the four orders of the simulacra
  • ‘The End of History’?
  • Relational Aesthetics
  • Summary
  • 8. Postcolonialism, globalisation and art histories
  • Introduction
  • Western-centrism within art history
  • Global cultural and artistic interactions
  • Western artistic appropriations and ‘Primitivism’
  • The struggle for independence and decolonisation
  • Edward Said and Orientalism
  • Postcolonialism and postcolonial studies
  • Globalisation
  • Legacies and continuities: empire, coloniality and the subaltern
  • Interpreting cultural interaction and exchange
  • Identity, agency and place
  • Globalising art history and global contemporary art
  • Afterword from Oceania
  • Summary
  • Resources
  • Galleries and museums: collections online
  • Galleries, museums, virtual tours and videos
  • Digital archives, essays and glossaries
  • Other resources, magazines, journals, dictionaries and encyclopaedias
  • Sources of images
  • Glossary of terms
  • Bibliography
  • Index