German Art History and Scientific Thought Beyond Formalism
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Auteur:
Asst Prof. Daniel Adler
Daniel Adler
- Engels
- Hardcover
- 9781409440239
- 28 juli 2012
- 194 pagina's
Samenvatting
A fresh contribution to the debate between Kunstwissenschaft (scientific study of art) and Kunstgeschichte (art history), this essay collection explores how German-speaking art historians of the late nineteenth and early twentieth century self-consciously generated a field of study.
A fresh contribution to the ongoing debate between Kunstwissenschaft (scientific study of art) and Kunstgeschichte (art history), this essay collection explores how German-speaking art historians of the late nineteenth and early twentieth century self-consciously generated a field of study. Prominent North American and European scholars provide new insights into how a mixing of diverse methodologies took place, in order to gain a more subtle and comprehensive understanding of how art history became institutionalized and legitimized in Germany. One common assumption about early art-historical writing in Germany is that it depended upon a simplistic and narrowly-defined formalism. This book helps to correct this stereotype by demonstrating the complexity of discussion surrounding formalist concerns, and by examining how German-speaking art historians borrowed, incorporated, stole, and made analogies with concepts from the sciences in formulating their methods. In focusing on the work of some of the well-known 'fathers' of the discipline - such as Alois Riegl and Heinrich Wölfflin - as well as on lesser-known figures, the essays in this volume provide illuminating, and sometimes surprising, treatments of art history's prior and understudied interactions with a wide range of scientific orientations, from psychology, sociology, and physiognomics to evolutionism and comparative anatomy.
A fresh contribution to the ongoing debate between Kunstwissenschaft (scientific study of art) and Kunstgeschichte (art history), this essay collection explores how German-speaking art historians of the late nineteenth and early twentieth century self-consciously generated a field of study. Prominent North American and European scholars provide new insights into how a mixing of diverse methodologies took place, in order to gain a more subtle and comprehensive understanding of how art history became institutionalized and legitimized in Germany. One common assumption about early art-historical writing in Germany is that it depended upon a simplistic and narrowly-defined formalism. This book helps to correct this stereotype by demonstrating the complexity of discussion surrounding formalist concerns, and by examining how German-speaking art historians borrowed, incorporated, stole, and made analogies with concepts from the sciences in formulating their methods. In focusing on the work of some of the well-known 'fathers' of the discipline - such as Alois Riegl and Heinrich Wölfflin - as well as on lesser-known figures, the essays in this volume provide illuminating, and sometimes surprising, treatments of art history's prior and understudied interactions with a wide range of scientific orientations, from psychology, sociology, and physiognomics to evolutionism and comparative anatomy.
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Inhoud
- Taal
- en
- Bindwijze
- Hardcover
- Oorspronkelijke releasedatum
- 28 juli 2012
- Aantal pagina's
- 194
- Illustraties
- Nee
Betrokkenen
- Hoofdauteur
- Asst Prof. Daniel Adler
- Tweede Auteur
- Daniel Adler
- Co Auteur
- Asst Prof. Daniel Adler
- Hoofdredacteur
- Mitchell B. Frank
- Tweede Redacteur
- Daniel Adler
- Co Redacteur
- Mitchell B. Frank
- Hoofduitgeverij
- Routledge
Overige kenmerken
- Editie
- New edition
- Extra groot lettertype
- Nee
- Product breedte
- 159 mm
- Product hoogte
- 19 mm
- Product lengte
- 235 mm
- Studieboek
- Nee
- Verpakking breedte
- 159 mm
- Verpakking hoogte
- 19 mm
- Verpakking lengte
- 235 mm
- Verpakkingsgewicht
- 612 g
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- EAN
- 9781409440239
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