Art History: The Key Concepts (Routledge Key Guides)
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Art History: The Key Concepts is a systematic, reliable and accessible reference guide to the disciplines of art history and visual culture. Containing entries on over 200 terms integral to the historical and theoretical study of art, design and culture in general, it is an indispensable source of knowledge for all students, scholars and teachers.
Covering the development, present status and future direction of art history, entries span a wide variety of terms and concepts such as abstract expressionism, epoch, hybridity, semiology and zeitgeist.
Key features include:
- a user-friendly A-Z format
- fully cross-referenced entries
- suggestions for further reading.
Engaging and insightful, as well as easy to follow and use, Art History: The Key Concepts builds a radical intellectual synthesis for understanding and teaching art, art history and visual culture.
institutions. By the late 1960s and 1970s, however, critical theory had expanded to include several other currents of thought with distinct political perspectives (some connected to marxism; others in fact hostile to it – at least in its Bolshevik or Stalinist forms). These new political-intellectual formations were feminist and anti-racist, or postcolonial, studies; gay and lesbian history, theory, and cultural analysis; the philosophical and historical critiques of modernity and the human^
interested in communicating with the viewer in traditional ways (e.g.: Frank Stella’s Marquis de Portago (1960); Kenneth Noland’s Via Blues (1967); Anthony Caro’s Prairie (1967)). 119 FORMALISM Further Reading Bell, Clive ‘The Aesthetic Hypothesis’ (1914), in Francis Frascina and Charles Harrison (eds) Modern Art and Modernism (Harper and Row: 1982). Iversen, Margaret Alois Riegl: Art History and Theory (Harvard University Press: 1993). Podro, Michael The Critical Historians of Art (Yale
changes its critical proponents, such as Charles Jencks and Hal Foster, advocated. Further Reading Frampton, Kenneth ‘Towards a Critical Regionalism: Six Points for an Architecture of Resistance’, in Hal Foster (ed.) Postmodern Culture (Pluto: 1985). Jencks, Charles The Language of Post-Modern Architecture (Rizzoli: 1977). 124 FUTURISM Le´ger, Fernand ‘The Machine Aesthetic: The Manufactured Object, the Artisan and the Artist’, in E. F. Fry (ed.) Functions of Painting (Thames and Hudson:
example, that women were denied access to male nude life-drawing class in all the academies of Europe virtually until the end of the nineteenth century. Without mastering this skill it was impossible for women to become fully trained and accredited artists able to produce works in the most prestigious history painting^ genre (a French term related to gender) which involved single or multiple human^ body compositions. Johann Zoffany’s 1771 painting of the founders of the English Royal Academy
for the sake of argument that all people, say, living now within greater Europe, western Asia, and Northern Africa could understand the historical bases of these conventions and therefore were able to value such artefacts according to an agreed single set of principles, then the vast majority of the contemporary world’s population would be excluded. In historical terms this claimed ‘universality’ would continue to shrink dramatically. In 1848, for example, when western Europe’s population was