1. What is art history?

2020 ◽  
pp. 1-30
Author(s):  
Dana Arnold
Keyword(s):  
Art History ◽  
Art Criticism ◽  
Art Appreciation ◽  
Cultural Issues ◽  
Work Of Art ◽  
Works Of Art ◽  
The Social ◽  
Over Time

‘What is art history?’ discusses the term art history and draws distinctions between it and art appreciation and art criticism. It also considers the range of artefacts included in the discipline and how these have changed over time. The work of art is our primary evidence, and it is our interaction between this evidence and methods of enquiry that forms art history. Art appreciation and criticism are also linked to connoisseurship. Although art is a visual subject, we learn about it through reading and we convey our ideas about it mostly in writing. The social and cultural issues articulated by art history are examined through an analysis of four very different works of art.

Kaki Manusia Sebagai Objek Estetik Penciptaan Fotografi Seni

2014 ◽  
Author(s):  
Dira Herawati
Keyword(s):  
Social Situation ◽  
Work Of Art ◽  
Social Phenomena ◽  
Aesthetic Object ◽  
Human Foot ◽  
Works Of Art ◽  
The Social ◽  
The Creation ◽  
Art Photography ◽  
Artistic Images

Accountability report is a written description of creative experiences as an artist or a photographer of aesthetic exploration efforts on the image and the idea of a human as a basic stimulant for the creation of works of art photography. Human foot as an aesthetic object is a problem that relates to various phenomena that occur in the social sphere, culture and politics in Indonesia today. Based on these linkages, human feet would be formulated as an image that has a value, and the impression of eating alone in the creation of a work of art photography. Hence the creation of this art photography entitled The Human Foots as Aesthetic Object  Creation of Art Photography. Starting from this background, then the legs as an option object art photography, will be managed creatively and systematically through a phases of creation. The creation phases consist of: (1) the exploration of discourse, (2) artistic exploration, (3) the stage of elaboration photographic, (4) the synthesis phase, and (5) the stage of completion. Methodically, through the phases of the creative process  through which this can then be formulated in various forms of artistic image of a human foot. The various forms of artistic images generated from the foots of its creation process, can be summed up as an object of aesthetic order 160 Kaki Manusia Sebagai Objek Estetik Penciptaan Fotografi Seni in the photographic works of art. It is specifically characterized by the formation of ‘imaging the other’ behind the image seen with legs visible, as well as of the various forms of ‘new image’ as a result of an artistic exploration of the common image of legs visible. In general, the whole image of the foot in a photographic work of art has a reflective relationship with the social situation, cultures, and politics that developed in Indonesian society, by value, meaning and impression that it contains.Keywords: human foots, aestheti,; social phenomena, art photography, images

Speculative Art Histories

2017 ◽  
Keyword(s):  
Art History ◽  
Mutual Recognition ◽  
Continental Philosophy ◽  
Object Oriented ◽  
Philosophy Of Art ◽  
Historical Writing ◽  
Work Of Art ◽  
Works Of Art

Following the recent ‘speculative turn’ in Continental philosophy, the aim of this volume is to propose a ‘counter-discourse’ of speculative approaches to art history. How could today’s materialist, realist, pragmatist, vitalist or object-oriented speculations offer alternatives to the mere complementarity of philosophy of art and art history, often based on mutual recognition and critical limitation rather than imaginative crossovers? What new intermedial methodologies for art and art historical writing do they provide? Or vice versa, how can the encounter with art induce new forms of philosophy? How do speculative concepts of time, past and contingency challenge typically modern engagements with art’s ‘history’? Is there, for example, an unexpected contemporary relevance for pre-modern, e.g. or mannerist or gothic ideas of art? Is it possible for art history to experience a work of art in its novelty beyond its historical facticity? And what is the speculative potential of works of art themselves? Does the speculative open up new ways of extending art into fields of biology, mathematics or the digital? What is the ‘thing’ or ‘object’ of art, whether inanimate or animate? What does it mean to have an ‘idea’? And finally, what remains of ‘beauty’ and ‘expressivity’, after decades of critical mistrust and embarrassed deconstruction?

Ignored works

Thesis Eleven ◽  
2021 ◽  
pp. 072551362110439
Author(s):  
Esperança Bielsa
Keyword(s):  
Contemporary Art ◽  
Art History ◽  
Special Kind ◽  
Social Processes ◽  
Social Conditions ◽  
Avant Garde ◽  
Art Worlds ◽  
Works Of Art ◽  
The Social ◽  
Sociology Of Art

This essay interrogates ignored works of art as a special kind of object that can shed some light on the nature of contemporary art worlds, as well as on wider social processes regarding our relationship with things and with our past. It provides a materialist perspective focused on discarded objects as an alternative to a mystifying view of the artworld that takes artistic autonomy for granted and obliterates the social conditions of creativity and success. Ignored works are normally outside the reach of art history and the sociology of art, yet the increasingly bigger realm of unrecognized and unvalued art provides, after the failure of the historical avant-garde, a space where critical autonomy can still develop. This essay attempts to illuminate this mostly invisible realm by relating it to other similar categories such as waste and forgetting. Finally, ignored works’ connection to notions of authenticity is pointed out.

From the realism to the Real. The „suicidal gesture” in the photography Self Portrait as a Drowned Man by Hippolyte Bayard and in the painting The Wounded Man by Gustave Courbet

Tekstualia ◽  
2017 ◽  
Vol 2 (49) ◽  
pp. 65-78
Author(s):  
Justyna Pyra
Keyword(s):  
Art History ◽  
Social Position ◽  
The Real ◽  
Works Of Art ◽  
The Social ◽  
Gustave Courbet ◽  
The World ◽  
The Status ◽  
The Subject ◽  
Death Of The Author

The article begins with an analysis of two works of art: the photography Self Portrait as a Drowned Man by Hippolyte Bayard (1839–1840), which is one of the fi rst photographs in history, and the painting The Wounded Man by Gustave Courbet (1845–1854). Both these images use the same iconographic theme: the death of the author. This comparison leads to a refl ection about the intersections of photography and death, in an artistic as well as an anthropological sense. The similarity of the subject of both the works, and their rootedness in the time of creation, induce a variety of questions: what was the status of photography shortly after the invention of this medium? How did it affect the notion of art, the social position of the artist, the comprehension of realism, and fi nally – the perception of the world itself? The article tries to answer some of these questions by bringing out the picture of a specifi c moment in (art) history, when both man’s interest in death and the realist’s aspiration to create mimetic representations have found a new refl ection in art thanks to photography.

The art of deceit: Pseudolus and the nature of reading

1996 ◽  
Vol 46 (1) ◽  
pp. 152-174 ◽  
Author(s):  
A. R. Sharrock
Keyword(s):  
Visual Art ◽  
Art Criticism ◽  
Work Of Art ◽  
Works Of Art ◽  
Multiple Levels ◽  
The Moment ◽  
Art Critics

Reading is delusion. In order to read, we have to suspend certain standards of reality and accept others; we have to offer ourselves to deceit, even if it is an act of deception of which we are acutely aware. One way of considering this paradoxical duality in the act of reading (being deceived while being aware of the deception) is more or less consciously to posit multiple levels of reading, whereby the deceived reader is watched by an aware reader, who is in turn watched by a super-reader; and so it continues. The ancient art critics, obsessed as they were with deceptive realism, provide in anecdotal form a good example of such multiplicity of perception when they tell stories of birds trying to peck at painted grapes, horses trying to mate with painted horses, even humans deceived by the lifelikeness of works of art. Such stories act as easy but potent signifiers of ‘realism’ in ancient art criticism, by showing the reactions of a ‘naive reader’ (the animals) whose deception the aware reader can enter into but also see exposed. In verbal or visual art parading itself as realistic, the artistic pretence of a pose of reality is, at some level, intended to be seen as deceptive; when it is non-realistic, or anti-realistic, or even stubbornly abstract (which it rarely is), art still demands that the reader suspend ordinary perception. But deception alone is not enough: ‘deceit’ only becomes artistic when a viewer sees through it, for a work of art which is so lifelike that no-one realizes it is not real has not entered the realm of art. The appreciation of deception happens at the moment when the deception is undone, or by the imaginative creation of a less sophisticated reader who has not seen through the deceit. That is what happens in comedy, more overtly than in other artforms, but in the same way.

scholarly journals МЕТАФОРА МЕН МЕТОНИМИЯНЫҢ ӘДЕБИЕТТАНУШЫ ҒАЛЫМДАРДЫҢ ЕҢБЕГІНДЕГІ ЗЕРТТЕЛУІ

2020 ◽  
Vol 52 (1) ◽  
pp. 110
Author(s):  
Б. Хасен ◽  
Ә. Даниял
Keyword(s):  
Literary Criticism ◽  
Art History ◽  
Comprehensive Analysis ◽  
Work Of Art ◽  
Domestic Science ◽  
Works Of Art ◽  
Reasonable Approach ◽  
Main Thing ◽  
Metaphor And Metonymy

Аңдатпа. Мақалада метафора және метонимия ұғымдары енгізілген, сонымен қатар әдебиеттанушы ғалымдардың зерттеуіне жан-жақты талдау жасалынған, біз оқуды жеңілдету үшін Ахмет Байтұрсыновтың нұсқаларын қолдану дұрыс болады деген ойды зерттеу арқылы жеткізгіміз келеді. Ұлттық әдебиеттану ғылымы қазір қолданып жүрген негізгі терминдер мен категориялар, сондай-ақ, ұғымдардың қазақша өте дәл, ықшам, оңтайлы баламаларының басым көпшілігі тұңғыш рет осы зерттеуде жасалғанын ашып айтатын уақыт жетті. Бұл ретте, Ахмет Байтұрсынов - тіл терминдерін жасауда қандай кемеңгер, данышпан болса, әдебиеттану, өнертану, фольклортану терминдерін жасауда да сондай кемеңгер, данышпан. Бастысы, ол ұсынған термин мәселесінде бірде бір грек, латын не болмаса орыс сөзін қолданбайды. Барлығын қазақы дүниетанымнан, әрбір сөздің өз түбірінен, өз төркінен алып, соны термин етіп түсіндіреді. Бұл да оқушының өзіндік туа бітті жаратылысына лайық, ақылына қонымды тәсіл. Осы тұрғыда «Әдебиет танытқыш» – әдебиетті танытудың шынайы тәсілдерін қолданған. Сондықтан оқырман жүрегінің төрінен орын алып отыр. Кез келген көркем шығарма жаратылыстың сырлы сыпаттарын көркем тілмен баян етеді. Біз әдебиетті тануда, талдауда көркем туындылардан сол сырлы сыпаттарды іздейміз. Ал материалдан тыс теориялар мен анықтамалар ойлап тауып, соларды материалға теліп талдау – барып тұрған сауатсыздық. Өкініштісі, біздің мектептерде сол сауатсыздық салтанат құрып тұр. Әсіресе, әдебиетті оқытуда. Мақалда осы артықшылықтар талдап көрсетілген. Түйін сөздер: метонимия, метафора.   *** Аннотация. В статье вводятся понятия метафоры и метонимии, а также, проведен всесторонний анализ на исследование литературоведов, путем исследования хотим доносить мысль, что будет правильно использовать варианты Ахмета Байтурсунова для легкости обучения. Настало время раскрыть, что основные термины и категории, используемые в отечественной науке литературоведения, а также подавляющее большинство очень точных, кратких, оптимальных альтернатив казахским понятиям были впервые разработаны в этом исследовании. В то же время Ахмет Байтурсынов столь же гениален и гениален в разработке языковых терминов, как и в создании терминов литературной критики, искусствоведения, фольклора. Главное, что он не использует греческие, латинские или русские слова в предложенном термине. Он берет все из казахского мировоззрения, каждое слово из своего корня, своего собственного значения и интерпретирует его как термин. Это тоже разумный подход, достойный врожденного характера студента. В связи с этим «Әдебиет танытқыш» - использовались реальные методы подачи литературы. Вот почему это в сердце читателя. Любое произведение искусства выражает таинственные свойства природы в художественном языке. При распознавании и анализе литературы мы ищем эти таинственные качества в произведениях искусства. И изобретать теории и определения вне материала и анализировать их в материале - постоянная неграмотность. К сожалению, эта неграмотность широко распространена в наших школах. Особенно в изучении литературы. В статье анализируются эти преимущества. Ключевые слова: метонимия, метафора.   *** Abstract. The article introduces the concepts of metaphor and metonymy, as well as a comprehensive analysis of the study of literary critics, through research we want to convey the idea that it will be correct to use the options of Akhmet Baitursunov for ease of learning. It is time to discover that the basic terms and categories used in the domestic science of literary criticism, as well as the vast majority of very accurate, concise, optimal alternatives to Kazakh concepts, were first developed in this study. At the same time, Akhmet Baitursynov is just as brilliant and brilliant in developing language terms as in creating terms of literary criticism, art history, and folklore. The main thing is that he does not use Greek, Latin or Russian words in the proposed term. He takes everything from the Kazakh worldview, each word from its root, its own meaning and interprets it as a term. This is also a reasonable approach, worthy of the inborn character of the student. In this regard, “ Әдебиет танытқыш ” - real methods of presenting literature were used. That is why it is in the heart of the reader. Any work of art expresses the mysterious properties of nature in an artistic language. In the recognition and analysis of literature, we look for these mysterious qualities in works of art. And to invent theories and definitions outside the material and analyze them in the material is constant illiteracy. Unfortunately, this illiteracy is widespread in our schools. Especially in the study of literature. The article analyzes these benefits. Keywords: metonymy, metaphor.

Iconography in the Western World

Art History ◽  
2014 ◽  
Author(s):  
Colum Hourihane
Keyword(s):  
Native American ◽  
Subject Matter ◽  
Art History ◽  
Western World ◽  
Wide Sense ◽  
Medieval Art ◽  
Work Of Art ◽  
Intellectual Activity ◽  
Works Of Art ◽  
The Subject

Iconography is the description, classification, and interpretation of the subject matter of a work of art. Derived from the Greek words eikon, meaning image or icon, and graphia, meaning description, writing, or sketch, the word iconography is one of the least understood, most abused, and most flexible terms in the English language. Since iconography concerns itself with the subject matter and meaning of images in a very wide sense, it is nearly impossible to define its boundaries, and the term is now used to refer to areas outside of art history. This article deals exclusively with the Western world and does not refer to recent initiatives in the field in areas such as Asian, Buddhist, Chinese, or Native American iconography. Even though the term iconology was first referred to in the late medieval period and was brought into currency by scholars such as Aby Warburg and Erwin Panofsky at the start of the 20th century, it is usually seen as a separate area of research and will not be discussed here in detail. Recent work in the field of iconology has been significantly based on an anthropological approach to the work of art and has been spearheaded by such scholars as Hans Belting, Horst Bredekamp, Jean-Claude Schmitt, and others. The boundaries between iconography and iconology have become less clear over the centuries, and it is now frequently impossible to say where one begins and the other ends. In its truest meaning, iconology is the study of the work of art in its broadest context. Iconographical studies have now been applied to material that was previously considered outside of its remit. Instead of looking at traditional subjects such as animals or kingship it has now been applied to concepts such as light, sound, or narrative. This has been brought about because of the more holistic approach applied to studying works of art and our need to encompass elements outside of the work itself that also interact with it. As an intellectual activity, iconography starts with describing or reading an image, finding words that describe the content of that image, documenting what is seen, and trying to understand it. The verbal means we use to describe the visual range, from elaborate, evocative descriptions to short succinct words or codes; and many such standards exist. In the second half of the 19th century, photography began to reproduce works of art in quantity, and this impacted significantly on the development of art history and iconography as academic disciplines. The need to organize image collections into accessible and manageable subdivisions led to the creation of formalized and structured iconographic standards. One of the pioneering centers for the study of iconography is the Index of Medieval Art at Princeton University, which was founded in 1917 and still continues to support and direct research in the field as it has done for close to a century. From the 1940s onward, inspired by the Index and by library systems such as Dewey’s Decimal Classification, Henri van de Waal created the Iconclass system for the classification of iconographic subject matter, now a de facto standard used in many countries. Nowadays, the huge number of digital images has reinforced the need to use some form of subject access. Pattern recognition and automatic image annotation are only two of the directions in which researchers are working. The author would like to acknowledge Hans Brandhorst for his contribution to the article as well as colleagues in the Index of Medieval Art.

The artful mind meets art history: Toward a psycho-historical framework for the science of art appreciation

2013 ◽  
Vol 36 (2) ◽  
pp. 123-137 ◽  
Author(s):  
Nicolas J. Bullot ◽  
Rolf Reber
Keyword(s):  
Common Core ◽  
Art History ◽  
Scientific Inquiry ◽  
Art Appreciation ◽  
Psychological Responses ◽  
Cognitive Sciences ◽  
Brain Sciences ◽  
The Social ◽  
Aesthetic Pleasure ◽  
Design Stance

AbstractResearch seeking a scientific foundation for the theory of art appreciation has raised controversies at the intersection of the social and cognitive sciences. Though equally relevant to a scientific inquiry into art appreciation, psychological and historical approaches to art developed independently and lack a common core of theoretical principles. Historicists argue that psychological and brain sciences ignore the fact that artworks are artifacts produced and appreciated in the context of unique historical situations and artistic intentions. After revealing flaws in the psychological approach, we introduce a psycho-historical framework for the science of art appreciation. This framework demonstrates that a science of art appreciation must investigate how appreciators process causal and historical information to classify and explain their psychological responses to art. Expanding on research about the cognition of artifacts, we identify three modes of appreciation: basic exposure to an artwork, the artistic design stance, and artistic understanding. The artistic design stance, a requisite for artistic understanding, is an attitude whereby appreciators develop their sensitivity to art-historical contexts by means of inquiries into the making, authorship, and functions of artworks. We defend and illustrate the psycho-historical framework with an analysis of existing studies on art appreciation in empirical aesthetics. Finally, we argue that the fluency theory of aesthetic pleasure can be amended to meet the requirements of the framework. We conclude that scientists can tackle fundamental questions about the nature and appreciation of art within the psycho-historical framework.

Portraits, Power, and Patronage in the Late Roman Republic

2000 ◽  
Vol 90 ◽  
pp. 18-50 ◽  
Author(s):  
Jeremy Tanner
Keyword(s):  
Recent Work ◽  
Art History ◽  
Historical Context ◽  
Political Context ◽  
Power Relationships ◽  
Social Functions ◽  
Works Of Art ◽  
The Social ◽  
Social Product ◽  
Clear Conception

Recent work in ancient art history has sought to move beyond formalist interpretations of works of art to a concern to understand ancient images in terms of a broader cultural, political, and historical context. In the study of late Republican portraiture, traditional explanations of the origins of verism in terms of antecedent influences — Hellenistic realism, Egyptian realism, ancestral imagines — have been replaced by a concern to interpret portraits as signs functioning in a determinate historical and political context which serves to explain their particular visual patterning. In this paper I argue that, whilst these new perspectives have considerably enhanced our understanding of the forms and meanings of late Republican portraits, they are still flawed by a failure to establish a clear conception of the social functions of art. I develop an account of portraits which shifts the interpretative emphasis from art as object to art as a medium of socio-cultural action. Such a shift in analytic perspective places art firmly at the centre of our understanding of ancient societies, by snowing that art is not merely a social product or a symbol of power relationships, but also serves to construct relationships of power and solidarity in a way in which other cultural forms cannot, and thereby transforms those relationships with determinate consequences.

scholarly journals Ikonografi Karya Sudjojono “Di Depan Kelamboe Terboeka”

2014 ◽  
Vol 1 (1) ◽  
pp. 1-16
Author(s):  
Zuliati Zuliati
Keyword(s):  
Subject Matter ◽  
Art History ◽  
Visual Art ◽  
Social Reality ◽  
Social Situation ◽  
Work Of Art ◽  
Colonial Culture ◽  
The Social

Tinjauan Ikonografi dalam Karya Sudjojono “Di Depan Kelamboe Terboeka”.Penelitian ini mengupas lukisan “Di Balik Kelamboe Terboeka” karya Sudjojonosecara ikonografi. Sebagai cabang ilmu sejarah seni, Ikonografi mempelajarimakna dari sebuah karya seni melalui kajian aspek internal dan eksternal. Aspekinternal sebuah karya seni seperti subject matter, gaya, dan aliran, sedangkan aspekeksternal berkaitan dengan situasi sosiohistoris yang melingkupi ketika karyaseni tersebut dibuat. Maka dengan menggunakan pendekatan ikonografi akandiperoleh pemaknaan yang lebih luas dari sebuah karya seni. Berdasarkan penelitiandapat disimpulkan bahwa “Di Depan Kelamboe Terbuka” menggambarkan jiwanasionalisme sebagai pemberontak estetika Mooi Indie yang telah mapan dalamkultur kolonial feodal. Karya tersebut menunjukkan pergulatan pemikiran dalamsuatu situasi sosial yang didominasi konsep estetika tertentu. Sudjojono mampumerumuskan konsep seni yang berasal dari kejujuran dan kepekaan dalam melihatrealitas sosial dan dikenal dengan kredo jiwa ketok. The Iconographic Study of Sudjono’s ‘Di Depan Kelamboe Terboeka’. Thisstudy discusses the iconography of ‘Di Depan Kelamboe Terboeka’, a painting createdby an influential painter in modern visual art of Indonesia, Sindudarsono Sudjono.Iconography as a branch of Art History learns the meaning of an artwork through thestudy of its internal and external aspects. The internal aspects include the items containedin an artwork such as a subject matter, style, and genre, whereas the external ones arerelated to the socio-historical situation in which the work of art is created. Iconographyprovides a broader understanding of a work of art. Based on this study, ‘Di DepanKelamboe Terboeka’ is one of Sudjono’s achievements depicting the spirit of nationalismas a rebel of the settle Mooi Indie aesthetics in the feudal-colonial culture. This paintingreflects the creator’s inner conflict in dealing with a certain social situation dominatedby a particular aesthetical concept. Sudjono was successful in formulizing an art conceptoriginated from his honesty and sensitiveness in witnessing the social reality known witha credo ‘jiwa kethok’.

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