Art History and Visual Studies in Europe: Transnational Discourses and National Frameworks

Front Cover
Matthew Rampley, Thierry Lenain, Hubert Locher
BRILL, Jun 22, 2012 - History - 567 pages
0 Reviews
Reflection on the history and practice of art history has long been a major topic of research and scholarship, and this volume builds on this tradition by offering a critical survey of many of the major developments in the contemporary discipline, such as the impact of digital technologies, the rise of visual studies or new initiatives in conservation theory and practice. Alongside these methodological issues this book addresses the mostly neglected question of the impact of national contexts on the development of the discipline. Taking a wide range of case studies, this book examines the impact of the specific national political, institutional and ideological demands on the practice of art history. The result is an account that both draws out common features and also highlights the differences and the plurality of practices that together constitute art history as a discipline.
 

What people are saying - Write a review

We haven't found any reviews in the usual places.

Contents

Introduction
1
Part One Methods Debates and Paradigms
15
Art History Aesthetics and Art Criticism
17
The Idea of the Canon and Canon Formation in Art History
29
Unity in Diversity?
41
Influence Dependency and Challenge
59
Formalism and the History of Style
75
Visual Culture and Visual Studies
91
Art History in Belgium
275
Institutional Frameworks Research Directions and Individual Scholars
287
Institutional Frameworks Topics and Loyalties
305
A Conflict of Traditions
315
Austria Germany and Switzerland
335
Art History and Visual Studies in Great Britain and Ireland
355
Art History in Greece and Cyprus
379
Connoisseurship Academic Scholarship and the Protection of Cultural Heritage
393

Between Art History and Visual Anthropology
107
Theories of the Image in Germanlanguage Scholarship
119
Computerization Digitization and the Internet
135
The Synergy of Art Conservation and Science
151
Art History and the Discourse of Economics
167
With and against Art History
185
Museums and Museologies
197
World Art Studies
217
The Construction of National Art Histories and the New Europe
231
Part Two The Geography of the Discipline
247
Estonia Latvia and Lithuania
249
The Past and Present of the Discipline
407
Art History in the Nordic Countries
421
A Marginalised Tradition? Polish Art History
439
Art History in Romania
451
Art History in Serbia BosniaHerzegovina and Macedonia
461
A Generational History
473
Art History and the Founding of the Modern Turkish State
485
Bibliography
493
Index
543
Copyright

Other editions - View all

Common terms and phrases

About the author (2012)

Matthew Rampley is Professsor in the History of Art of the University of Birmingham. He has published widely on aesthetics and the historiography of art, with a particular focus on Nietzsche, Warburg, Riegl and the Vienna School of Art History, and is associate editor of the "Journal of Art Historiography." Thierry Lenain is Professor of Art Theory at the Universit Libre de Bruxelles. Published works include studies of forgery, monkey painting and the image in Deleuze, Foucault and Lyotard. Hubert Locher is Professor of the History and Theory of the Image, and Director of the German Art Historical Documentation Centre of the Philipps University, Marburg. Alongside work on the Renaissance, specifically, Alberti, Raphael and Ghirlandaio, he has also written and edited numerous books on museum and exhibitionary practice, art theory and the historiography of art. Andrea Pinotti is Professor of Philosophy at the Universit degli Studi, Milan. He has written widely on German nineteenth- and twentieth-century aesthetics and its place within the historiography of art, including books on Riegl, Warburg and Walter Benjamin. Charlotte Schoell-Glass is Professor of Art History at the University of Hamburg. A member of the editorial board of "Word & Image," her research interests focus on the relation between image and text, and she has also published on Aby Warburg, including a critical edition of the Diary of the Warburg Library in Hamburg and a study of Warburg and anti-Semitism. Kitty Zijlmans is Director of the Leiden University Institute for Cultural Disciplines. Her main areas of research and publication have been contemporary art, the theory and methodologies of art history and world art studies as a new disciplinary paradigm.