Art History, Aesthetics and Art Criticism

2012 ◽  
pp. 15-28
Keyword(s):  
Art History ◽  
Art Criticism

scholarly journals CONCEPT OF THE STUDY OF ART BY R.J. COLLINGWOOD AS AN OBJECT OF THEORETICAL ANALYSIS

2020 ◽  
pp. 36-40
Author(s):  
M. V. Ternova
Keyword(s):  
Theoretical Analysis ◽  
Art History ◽  
Art Criticism ◽  
The Other ◽  
Historical Period ◽  
Rudyard Kipling ◽  
Cultural Traditions ◽  
Avant Garde ◽  
History Analysis ◽  
The One

The article analyzed concept of the study of art by Robin George Collingwood (1889-1943), a well-known English neo-hegelian philosopher. His significant part of the theoretical heritage is connected with the explanation of the nature of art and with the consideration of its condition during the period of the changing Oscar Wilde era to the era of Rudyard Kipling. The circle of problem such as content and form, character, image, mimesis, reflection, emotion, art and "street man" identified. All of them in Collingwood's presentation and interpretation significantly expanded the space of research not only English, but also European art criticism. The concept of study of art is "built" on the basis of an active understanding of historical and cultural traditions accented. The concept of art criticism of R.G. Collingwood – a famous English philosopher of the XIX-XX centuries, on the one hand, has self-importance, and on the other, although based on the traditions of contemporary humanities, still expands art history analysis of aesthetics through aesthetics and psychology. Recognizing the exhaustion of the English model of romanticism, R.G. Collingwood tries to outline the prospects for the development of art in the logic of the movement "romanticism – realism – avant-garde", which leads to the actualization of the problem of "mimesis – reflection". At the same time, the theorist's attention is consciously concentrated around the concept of "subject", the understanding of which is radically changing at the turn of the XIX-XX centuries. Theoretical material in the presentation of R.G. Collingwood is based on the work of Shakespeare, Reynolds, Turner, Cezanne, whose experience allows us to focus on the problem of "artist and audience". It is emphasized that Collingwood's position is ahead of its time, stimulating scientific research in the European humanities. The existence of indicative tendencies, which are distinguished in the logic of European cultural creation of the historical period, is emphasized.

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.

Modern art history as a human science in a situation of cultural turn

2019 ◽  
Vol 11 (3) ◽  
pp. 94-106
Author(s):  
Nikolai A. Khrenov
Keyword(s):  
20Th Century ◽  
Art History ◽  
Art Criticism ◽  
Normal Science ◽  
Art Theory ◽  
Linguistic Turn ◽  
Self Protection ◽  
The Relationship ◽  
Intensive Development ◽  
Cultural Turn

Intensive development of knowledge in the 20th century, including the emergence of new sciences and humanities, constantly creates a problematic situation in the sphere of art, shifting arts designation to what in the philosophy of science is known as normal science. This is associated with the idea of art as a science that has reached a stage of maturity and consistency and, therefore, complies with its norms. The concept of art as normal science is characterized by a certain degree of conservatism, as it presupposes arts self-protection against deviations from the established methodology. However, sometimes the artistic processes of modernity require different approaches. In addition, the emergence of new humanities shifts the already established methodology of art. This happened in the first decades of the 20th century, in the era of a linguistic turn in the humanities, indicating the invasion of natural sciences in the humanities; and this is happening today, at the turn of the 21st century, in a situation of a cultural turn, the emergence and intensive development of the science of culture. The current turn requires a deeper understanding of the structure and components of art history, i.e., its sub-disciplines: art history, art theory and art criticism. The essay argues that in the situation of cultural turn the theory of art can carry out functions which the other two sub-disciplines cannot. It propounds that art theory is able to make a decisive contribution to the elucidation of two problems: the relationship between art and cultural studies and the problem of historical time, which is important both for contemporary art and for art history.

Modern art history as a human science in a situation of cultural turn

2019 ◽  
Vol 11 (1) ◽  
pp. 82-98
Author(s):  
Nicolai A. Khrenov
Keyword(s):  
20Th Century ◽  
Art History ◽  
Art Criticism ◽  
Normal Science ◽  
Art Theory ◽  
Linguistic Turn ◽  
Self Protection ◽  
The Relationship ◽  
Intensive Development ◽  
Cultural Turn

Intensive development of knowledge in the 20th century, including the emergence of new sciences and humanities, constantly creates a problematic situation in the sphere of art, shifting arts designation to what in the philosophy of science is known as normal science. This is associated with the idea of art as a science that has reached a stage of maturity and consistency and, therefore, complies with its norms. The concept of art as normal science is characterized by a certain degree of conservatism, as it presupposes arts self-protection against deviations from the established methodology. However, sometimes the artistic processes of modernity require different approaches. In addition, the emergence of new humanities shifts the already established methodology of art. This happened in the first decades of the 20th century, in the era of a linguistic turn in the humanities, indicating the invasion of natural sciences in the humanities; and this is happening today, at the turn of the 21st century, in a situation of a cultural turn, the emergence and intensive development of the science of culture. The current turn requires a deeper understanding of the structure and components of art history, i.e., its sub-disciplines: art history, art theory and art criticism. The essay argues that in the situation of cultural turn the theory of art can carry out functions which the other two sub-disciplines cannot. It propounds that art theory is able to make a decisive contribution to the elucidation of two problems: the relationship between art and cultural studies and the problem of historical time, which is important both for contemporary art and for art history.

Approaching the Mughal Past in Indian Art Criticism: The case of MARG (1946 –1963)

2012 ◽  
Vol 47 (1) ◽  
pp. 167-203
Author(s):  
DEVIKA SINGH
Keyword(s):  
Cultural Identity ◽  
Art History ◽  
Art Criticism ◽  
Art Journal ◽  
Art Historians ◽  
History Of ◽  
The 1960S ◽  
Art And Architecture ◽  
Indian Art ◽  
Contemporary Artists

AbstractThe paper examines the model value of the Mughal period in MARG, the leading art journal of 1940s and 1950s India. It combines a discussion of some of the key historiographical questions of Indian art history and the role played by specific art historians, including European exiles who were among the contributors to the journal, with broader questions on the interaction of national cultural identity with global modernism. In this context, the Mughal period—celebrated in MARG for its synthesis of foreign and indigenous styles—was consistently put forward as an example for contemporary artists and architects. From its inception in 1946 until the 1960s the review favoured a return to the spirit of India's prestigious artistic past, but not to its form. Its editorials and articles followed a clearly anti-revivalist and cosmopolitan line. It aimed at redressing misunderstandings that had long undermined the history of Indian art and surmounting the perceived tensions in art and architecture between a so-called Indian style and a modern, international one.

scholarly journals "Criticism is about creating timeless acoustics": an interview with art historian Olga Balashova

2020 ◽  
pp. 133-137
Author(s):  
Anna Kaluher ◽  
Olga Balashova
Keyword(s):  
Art History ◽  
Art Criticism ◽  
Phenomenological Study ◽  
Research Priorities ◽  
Assistant Professor ◽  
Art Museum ◽  
Disciplinary Boundaries ◽  
National University ◽  
History Of ◽  
Definition Of

Olga Balashova - art historian, kmbs and KAMA lecturer, art critic, deputy director for the development of the National Art Museum of Ukraine (NAMU) in 2017-2020. The interview was recorded in February 2020 by assistant professor Anna Kaluger (Chair of Art History, Taras Shevchenko National University of Kyiv). This interview was conducted as part of the Ph.D. research "The structure of art criticism in Ukraine at the beginning of the XXI century." The discussion will focus on the definition of art criticism in the Ukrainian art context and its disciplinary boundaries. Olga Balashova talks about her career path as art historian and critic, determining for her theoretical influences, the school of art history at NAOMA, and her research priorities within the study of the history of criticism. Part of the interview focuses on the methods of teaching criticism in the humanities in the context of the internetization of criticism and the loss of its usual disciplinary basis - the history of art. It will also discuss the genre classification of criticism at the level of objects of study, in particular: the portrait of the artist, curatorial strategy, or phenomenological study of artistic events. The final part of the interview focuses on options for constructing the history of criticism in Ukraine: both the history of resources and the history of authors, the history of interpretations, and the history of methodological approaches.

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