art history

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art history,

the study of works of art and architecture. In the mid-19th cent., art history was raised to the status of an academic discipline by the Swiss Jacob BurckhardtBurckhardt, Jacob or Jakob Christoph
, 1818–97, Swiss historian, one of the founders of the cultural interpretation of history. He studied under Ranke at the Univ.
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, who related art to its cultural environment, and the German idealists Alois Riegl, Heinrich WölfflinWölfflin, Heinrich
, 1864–1945, Swiss art historian. Wölfflin's formal stylistic analysis of motifs and composition in art combined cultural history and psychological insight into the creative process to form a complete aesthetic system.
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, and Wilhelm Worringer. The latter three saw art history as the analysis of forms and viewed art apart from any function it serves in expressing the spirit of its age. Major 20th-century art historians include Henri Focillon, Bernard BerensonBerenson, Bernard
, 1865–1959, American art critic and connoisseur of Italian art, b. Lithuania, grad. Harvard, 1887. An expert and an arbiter of taste, he selected for art collectors innumerable paintings, many of which are now in museums.
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, Aby Warburg, Émile MâleMâle, Émile
, 1862–1954, French art historian. Mâle pioneered the study of French art of the Middle Ages, its forms, and especially the Eastern sources of sculptural iconography of the cathedrals of France.
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, Erwin PanofskyPanofsky, Erwin
, 1892–1968, American art historian, b. Germany, Ph.D. Univ. of Freiburg, 1914. After teaching (1921–33) at the Univ. of Hamburg and serving as professor of fine arts at New York Univ.
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, and Ernst Gombrich; the succeeding generation has included Michael Fried, Rosalind Krauss, Donald Kuspit, and Giselda Pollack. Modern art history is a broad field of inquiry embracing formal questions of stylistic development as well as considerations of social and cultural context. Since the 1970s, a heightened awareness of gender, ethnicity, and environmental issues has marked the work of many art historians.


See A. Hauser, The Social History of Art (4 vol., 1958–60); M. Podro, The Critical Historians of Art (1982); E. H. Gombrich, The Story of Art (16th ed. 1995); P. J. E. Davies et al. Janson's History of Art (8th ed. 2010); H. Honour and J. Fleming, The Visual Arts: A History (rev. 7th ed. 2013).

References in periodicals archive ?
That an art-history trained graduate has highly desirable and eminently transferable skills across a range of art and non-art specific professions ought to be very good news for art history going forward, especially as there is evidence that the areas of the UK economy related to culture are growing faster than others, and outperforming the economy as a whole.
The organic link between art history and curatorial practice that now exists at the BA level will be retained in the new master's degree.
Focillon was at Yale University teaching "an art history of the world in real time," lecturing on the churches of Spain at the height of the Spanish Civil War, or on Manet's painting in the fall of 1939 as the German army threatened France.
The Edith O'Donnell Institute of Art History will be the first such institute formed in the digital age," Brettell said.
Johns told the publication that she appreciated the President's apology, but felt it was important for him to know that art history is no longer just the purview of 'the girls with pearls'.
She urges us to be bold: "We need an art history that isn't determined by fear: fear of making mistakes, fear of giving offense" (93).
A friend said: 'Shell is looking forward to getting back to uni as she adores art history.
Arnold is helped on her quest to introduce art history in a short amount of time by the clear and unfussy layout.
Like double-rich chocolate truffles to the chocoholic, this art history is a visual feast for the art lover.
Art history has focused on the personalities of the artist as far back as 1435, and even more so after the arrival of Caravaggio, who was forced to flee Rome in 1606 after stabbing a young man to death in a dispute over a tennis score.
While the fifteen contributors to the volume of Kidd and Nicholls explore a dizzying army of topics drawn from history, cultural studies, art history, economics, and geography, Lawes' monograph focuses steadfastly on the evolution of the thinking of Michael Sadler on the role of the state in the context of other paternalist thinkers like Coleridge, Southey, Cobbett, Johnstone, Robinson, Hale, and Monck.