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| christopher wood art history: A History of Art History Christopher S. Wood, 2021-03-02 In this authoritative book, the first of its kind in English, Christopher Wood tracks the evolution of the historical study of art from the late middle ages through the rise of the modern scholarly discipline of art history. Synthesizing and assessing a vast array of writings, episodes, and personalities, this original and accessible account of the development of art-historical thinking will appeal to readers both inside and outside the discipline. The book shows that the pioneering chroniclers of the Italian Renaissance--Lorenzo Ghiberti and Giorgio Vasari--measured every epoch against fixed standards of quality. Only in the Romantic era did art historians discover the virtues of medieval art, anticipating the relativism of the later nineteenth century, when art history learned to admire the art of all societies and to value every work as an index of its times. The major art historians of the modern era, however--Jacob Burckhardt, Aby Warburg, Heinrich Wölfflin, Erwin Panofsky, Meyer Schapiro, and Ernst Gombrich--struggled to adapt their work to the rupture of artistic modernism, leading to the current predicaments of the discipline. Combining erudition with clarity, this book makes a landmark contribution to the understanding of art history.--from book jacket |
| christopher wood art history: Forgery, Replica, Fiction Christopher S. Wood, 2008-08-15 Credulity -- Reference by artifact -- Germany and Renaissance--Forgery -- Replica -- Fiction -- Re-enactment. |
| christopher wood art history: Anachronic Renaissance Alexander Nagel, Christopher S. Wood, 2020-04-14 A reconsideration of the problem of time in the Renaissance, examining the complex and layered temporalities of Renaissance images and artifacts. In this widely anticipated book, two leading contemporary art historians offer a subtle and profound reconsideration of the problem of time in the Renaissance. Alexander Nagel and Christopher Wood examine the meanings, uses, and effects of chronologies, models of temporality, and notions of originality and repetition in Renaissance images and artifacts. Anachronic Renaissance reveals a web of paths traveled by works and artists—a landscape obscured by art history's disciplinary compulsion to anchor its data securely in time. The buildings, paintings, drawings, prints, sculptures, and medals discussed were shaped by concerns about authenticity, about reference to prestigious origins and precedents, and about the implications of transposition from one medium to another. Byzantine icons taken to be Early Christian antiquities, the acheiropoieton (or “image made without hands”), the activities of spoliation and citation, differing approaches to art restoration, legends about movable buildings, and forgeries and pastiches: all of these emerge as basic conceptual structures of Renaissance art. Although a work of art does bear witness to the moment of its fabrication, Nagel and Wood argue that it is equally important to understand its temporal instability: how it points away from that moment, backward to a remote ancestral origin, to a prior artifact or image, even to an origin outside of time, in divinity. This book is not the story about the Renaissance, nor is it just a story. It imagines the infrastructure of many possible stories. |
| christopher wood art history: Albrecht Altdorfer and the Origins of Landscape Christopher S. Wood, 2013-07-15 In the early sixteenth century, Albrecht Altdorfer promoted landscape from its traditional role as background to its new place as the focal point of a picture. His paintings, drawings, and etchings appeared almost without warning and mysteriously disappeared from view just as suddenly. In Albrecht Altdorfer and the Origins of Landscape, Christopher S. Wood shows how Altdorfer transformed what had been the mere setting for sacred and historical figures into a principal venue for stylish draftsmanship and idiosyncratic painterly effects. At the same time, his landscapes offered a densely textured interpretation of that quintessentially German locus—the forest interior. This revised and expanded second edition contains a new introduction, revised bibliography, and fifteen additional illustrations. |
| christopher wood art history: Victorian Painting Christopher Wood, 1999 The Victorian era and its aftermath were the backdrop to one of the great flowerings of British art. Taking the story of British art from the era of Romanticism to the formal and aesthetic breakthrough of Post-Impressionism, this book offers a definitive survey of the field. |
| christopher wood art history: The Fatal Englishman Sebastian Faulks, 2009-07-01 In The Fatal Englishman, his first work of nonfiction, Sebastian Faulks explores the lives of three remarkable men. Each had the seeds of greatness; each was a beacon to his generation and left something of value behind; yet each one died tragically young. Christopher Wood, only twenty-nine when he killed himself, was a painter who lived most of his short life in the beau monde of 1920s Paris, where his charm, good looks, and the dissolute life that followed them sometimes frustrated his ambition and achievement as an artist. Richard Hillary was a WWII fighter pilot who wrote a classic account of his experiences, The Last Enemy, but died in a mysterious training accident while defying doctor’s orders to stay grounded after horrific burn injuries; he was twenty-three. Jeremy Wolfenden, hailed by his contemporaries as the brightest Englishman of his generation, rejected the call of academia to become a hack journalist in Cold War Moscow. A spy, alcoholic, and open homosexual at a time when such activity was still illegal, he died at the age of thirty-one, a victim of his own recklessness and of the peculiar pressures of his time. Through the lives of these doomed young men, Faulks paints an oblique portrait of English society as it changed in the twentieth century, from the Victorian era to the modern world. |
| christopher wood art history: Fairies in Victorian Art Christopher Wood, 2008 A revised edition of a very popular title, written by one of England's leading experts on Victorian art. |
| christopher wood art history: The Vienna School Reader Christopher S. Wood, 2000 The key to this contextualist alchemy was the concept of structure, a kind of deep formal property that the work of art shared with the world. The idea of this volume is to bring the drama of this methodological and political encounter to the attention of Anglo-American art historians.--BOOK JACKET. |
| christopher wood art history: Heroes Masked and Mythic Christopher Wood, 2021-01-04 Epic battles, hideous monsters and a host of petty gods--the world of Classical mythology continues to fascinate and inspire. Heroes like Herakles, Achilles and Perseus have influenced Western art and literature for centuries, and today are reinvented in the modern superhero. What does Iron Man have to do with the Homeric hero Odysseus? How does the African warrior Memnon compare with Marvel's Black Panther? Do DC's Wonder Woman and Xena the Warrior Princess reflect the tradition of Amazon women such as Penthesileia? How does the modern superhero's journey echo that of the epic warrior? With fresh insight into ancient Greek texts and historical art, this book examines modern superhero archetypes and iconography in comics and film as the crystallization of the hero's journey in the modern imagination. |
| christopher wood art history: Perspective as Symbolic Form Erwin Panofsky, 2020-09-01 Erwin Panofsky’s Perspective as Symbolic Form is one of the great works of modern intellectual history, the legendary text that has dominated all art-historical and philosophical discussions on the topic of perspective in this century. Finally available in English, this unrivaled example of Panofsky’s early method places him within broader developments in theories of knowledge and cultural change. Here, drawing on a massive body of learning that ranges over ancient philosophy, theology, science, and optics as well as the history of art, Panofsky produces a type of “archaeology” of Western representation that far surpasses the usual scope of art historical studies. Perspective in Panofsky’s hands becomes a central component of a Western “will to form,” the expression of a schema linking the social, cognitive, psychological, and especially technical practices of a given culture into harmonious and integrated wholes. He demonstrates how the perceptual schema of each historical culture or epoch is unique and how each gives rise to a different but equally full vision of the world. Panofsky articulates these distinct spatial systems, explicating their particular coherence and compatibility with the modes of knowledge, belief, and exchange that characterized the cultures in which they arose. Our own modernity, Panofsky shows, is inseparable from its peculiarly mathematical expression of the concept of the infinite, within a space that is both continuous and homogenous. |
| christopher wood art history: Christopher Wood A. Cariou, Michael Tooby, Françoise Steel-Coquet, Tate Gallery St Ives, 1996 Looking in depth at the artist's life and work in both places, this work highlights the extent to which his pictures of Cornouaille were imbued with resonances and memories of Cornwall. Around 40 works are illustrated and discussed. |
| christopher wood art history: Cultural Techniques Bernhard Siegert, 2015-05-01 In a crucial shift within posthumanistic media studies, Bernhard Siegert dissolves the concept of media into a network of operations that reproduce, displace, process, and reflect the distinctions fundamental for a given culture. Cultural Techniques aims to forget our traditional understanding of media so as to redefine the concept through something more fundamental than the empiricist study of a medium’s individual or collective uses or of its cultural semantics or aesthetics. Rather, Siegert seeks to relocate media and culture on a level where the distinctions between object and performance, matter and form, human and nonhuman, sign and channel, the symbolic and the real are still in the process of becoming. The result is to turn ontology into a domain of all that is meant in German by the word Kultur. Cultural techniques comprise not only self-referential symbolic practices like reading, writing, counting, or image-making. The analysis of artifacts as cultural techniques emphasizes their ontological status as “in-betweens,” shifting from firstorder to second-order techniques, from the technical to the artistic, from object to sign, from the natural to the cultural, from the operational to the representational. Cultural Techniques ranges from seafaring, drafting, and eating to the production of the sign-signaldistinction in old and new media, to the reproduction of anthropological difference, to the study of trompe-l’oeils, grids, registers, and doors. Throughout, Siegert addresses fundamental questions of how ontological distinctions can be replaced by chains of operations that process those alleged ontological distinctions within the ontic. Grounding posthumanist theory both historically and technically, this book opens up a crucial dialogue between new German media theory and American postcybernetic discourses. |
| christopher wood art history: Victorian Panorama Christopher Wood, 1976-01-01 |
| christopher wood art history: Painted Wood Valerie Dorge, F. Carey Howlett, 1998-08-27 The function of the painted wooden object ranges from the practical to the profound. These objects may perform utilitarian tasks, convey artistic whimsy, connote noble aspirations, and embody the highest spiritual expressions. This volume, illustrated in color throughout, presents the proceedings of a conference organized by the Wooden Artifacts Group of the American Institute for Conservation of Historic and Artistic Works (AIC) and held in November 1994 at the Colonial Williamsburg Foundation in Williamsburg, Virginia. The book includes 40 articles that explore the history and conservation of a wide range of painted wooden objects, from polychrome sculpture and altarpieces to carousel horses, tobacconist figures, Native American totems, Victorian garden furniture, French cabinets, architectural elements, and horse-drawn carriages. Contributors include Ian C. Bristow, an architect and historic-building consultant in London; Myriam Serck-Dewaide, head of the Sculpture Workshop, Institut Royal du Patrimoine Artistique, Brussels; and Frances Gruber Safford, associate curator of American decorative arts at the Metropolitan Museum of Art in New York. A broad range of professionals—including art historians, curators, scientists, and conservators—will be interested in this volume and in the multidisciplinary nature of its articles. |
| christopher wood art history: A History of Art History Christopher S. Wood, 2019-09-03 An authoritative history of art history from its medieval origins to its modern predicaments In this wide-ranging and authoritative book, the first of its kind in English, Christopher Wood tracks the evolution of the historical study of art from the late middle ages through the rise of the modern scholarly discipline of art history. Synthesizing and assessing a vast array of writings, episodes, and personalities, this original account of the development of art-historical thinking will appeal to readers both inside and outside the discipline. The book shows that the pioneering chroniclers of the Italian Renaissance—Lorenzo Ghiberti and Giorgio Vasari—measured every epoch against fixed standards of quality. Only in the Romantic era did art historians discover the virtues of medieval art, anticipating the relativism of the later nineteenth century, when art history learned to admire the art of all societies and to value every work as an index of its times. The major art historians of the modern era, however—Jacob Burckhardt, Aby Warburg, Heinrich Wölfflin, Erwin Panofsky, Meyer Schapiro, and Ernst Gombrich—struggled to adapt their work to the rupture of artistic modernism, leading to the current predicaments of the discipline. Combining erudition with clarity, this book makes a landmark contribution to the understanding of art history. |
| christopher wood art history: Confronting Images Georges Didi-Huberman, 2005 According to Didi-Huberman, visual representation has an underside in which intelligible forms lose clarity and defy rational understanding. Art historians, he contends, fail to engage this underside, and he suggests that art historians look to Freud's concept of the dreamwork, a mobile process that often involves substitution and contradiction. |
| christopher wood art history: Real Spaces David Summers, 2003-07 Addressing fundamental problems in modern Western approaches to art, this bold, brilliant, and important book proposes a new and flexible conceptual framework for the understanding of art by replacing the notion of the visual arts with that of the spatial arts. 350 illustrations. |
| christopher wood art history: Cedric Morris & Christopher Wood Nathaniel Hepburn, Norwich Castle Museum, 2012 A story of a forgotten friendship explored through personal diaries and archive writings. |
| christopher wood art history: Parables J. Christopher White, 1999-10-26 Witness gnarled trees and roots transformed into stunningly beautiful sculptures. Features incredible color photography, more than 50 inspiring works of art, and narratives detailing the inspiration behind the carving. |
| christopher wood art history: The Stick Chair Book Christopher Schwarz, 2023-09 ...The Stick Chair Book is divided into three sections. The first section, Thinking About Chairs, introduces you to the world of common stick chairs, plus the tools and wood to build them. The second section - Chairmaking Techniques - covers every process involved in making a chair, from cutting stout legs, to making curved arms with straight wood, to carving the seat. Plus, you'll get a taste for the wide variety of shapes you can use. The chapter on seats shows you how to lay out 14 different seat shapes. The chapter on legs has 16 common forms that can be made with only a couple handplanes. Add those to the 11 different arm shapes, six arm-joinery options, 14 shapes for hands, seven stretcher shapes and 11 combs, and you could make stick chairs your entire life without ever making the same one twice. The final section offers detailed plans for five stick chairs, from a basic Irish armchair to a dramatic Scottish comb-back. These five chair designs are a great jumping-off point for making stick chairs of your own design. Additional chapters in the book cover chair comfort, finishing and sharpening the tools. From the author: When I first wrote 'The Stick Chair Book' in 2021, I was also fighting cancer. So I hammered out the text with urgency and the desire to record every fragment of information I knew about chairmaking. To be fair, that's usually how I go about writing all my books. But then I typically take a couple months off, put the manuscript aside, then revisit it with fresh eyes and a sharpened pen. My final revisions remove about 10-20 percent of the original material. The stuff I cut is usually chapters that don't match the tone of the rest of the text. Or I snip sections that aren't as relevant as when I first wrote them. I also smooth out the writing and add bits of information I'd forgotten during the first brain-to-fingers dump. And that's exactly what I've done for this revised edition. As a result, the text is 10.1 percent shorter than the first edition. It's more to the point. And it's where the manuscript would have ended up under normal conditions...--Publisher's website. |
| christopher wood art history: The Pragmatism in the History of Art Molly Nesbit, 2020-08-04 The pragmatism of Charles Peirce and William James and John Dewey exists as it moved, absorbing and absorbed. Conclusions remain provisions, time riding on, perpetually unsettled, nocturnal, opaque. Many questions and conditions remain. They will recur. The future has not eased. In our own lifetime there have been stakes, some old, some new, in continuing to write about the time and place and point of art. It is important to mark them. Pragmatism is above all a way of working, it starts from the present. The Pragmatism in the History of Art traces the questions that modern art history has used to make sense of the changes overtaking both art and life. A genealogy emerges naturally, elliptically. Several generations cross back and forth over the Atlantic. The questions combine with case studies as a story unfolds: the work of Meyer Schapiro, Henri Focillon, Alexander Dorner, George Kubler, Robert Herbert, T. J. Clark and Linda Nochlin is scrutinized; the philosophy of Michel Foucault and Gilles Deleuze and the films of Chris Marker and Jean-Luc Godard show distinctly pragmatic effects; artists discussed include Vincent Van Gogh, Isamu Noguchi, Lawrence Weiner and Gordon Matta-Clark. The relevance of this material for the art and art-writing of our own time becomes increasingly clear. |
| christopher wood art history: Saturn and Melancholy Raymond Klibansky, Erwin Panofsky, Fritz Saxl, 2019-11-21 Saturn and Melancholy remains an iconic text in art history, intellectual history, and the study of culture, despite being long out of print in English. Rooted in the tradition established by Aby Warburg and the Warburg Library, this book has deeply influenced understandings of the interrelations between the humanities disciplines since its first publication in English in 1964. This new edition makes the original English text available for the first time in decades. Saturn and Melancholy offers an unparalleled inquiry into the origin and development of the philosophical and medical theories on which the ancient conception of the temperaments was based and discusses their connections to astrological and religious ideas. It also traces representations of melancholy in literature and the arts up to the sixteenth century, culminating in a landmark analysis of Dürer's most famous engraving, Melencolia I. This edition features Raymond Klibansky's additional introduction and bibliographical amendments for the German edition, as well as translations of source material and 155 original illustrations. An essay on the complex publication history of this pathbreaking project - which almost did not see the light of day - covers more than eighty years, including its more recent heritage. Making new a classic book that has been out of print for over four decades, this expanded edition presents fresh insights about Saturn and Melancholy and its legacy as a precursor to modern interdisciplinary studies. |
| christopher wood art history: Pieter Bruegel’s Historical Imagination Stephanie Porras, 2016-02-23 The question of how to understand Bruegel’s art has cast the artist in various guises: as a moralizing satirist, comedic humanist, celebrator of vernacular traditions, and proto-ethnographer. Stephanie Porras reorients these apparently contradictory accounts, arguing that the debate about how to read Bruegel has obscured his pictures’ complex relation to time and history. Rather than viewing Bruegel’s art as simply illustrating the social realities of his day, Porras asserts that Bruegel was an artist deeply concerned with the past. In playing with the boundaries of the familiar and the foreign, history and the present, Bruegel’s images engaged with the fraught question of Netherlandish history in the years just prior to the Dutch Revolt, when imperial, religious, and national identities were increasingly drawn into tension. His pictorial style and his manipulation of traditional iconographies reveal the complex relations, unique to this moment, among classical antiquity, local history, and art history. An important reassessment of Renaissance attitudes toward history and of Renaissance humanism in the Low Countries, this volume traces the emergence of archaeological and anthropological practices in historical thinking, their intersections with artistic production, and the developing concept of local art history. |
| christopher wood art history: Ben Nicholson and Winifred Nicholson Jovan Nicholson, Julian Stair, Sebastiano Barassi , 2013-09-30 This book examines the artistic partnership of Ben Nicholson and Winifred Nicholson in the 1920s and their friendship and collaboration with Christopher Wood, Alfred Wallis, and the potter William Staite Murray. Inspired by each other, the Nicholsons experimented furiously and often painted the same subject, one as a colorist the other more interested in form. Winifred wrote of her time with Ben, 'All artists are unique and can only unite as complementaries not as similarities'. New research based on previously unpublished letters, photographs and other material draws out their fascinating connections. All the works, many of which are previously unpublished, are illustrated in full color, each with comments relating to the work by the artists and their critics. |
| christopher wood art history: Reception and the Classics William Brockliss, Pramit Chaudhuri, Ayelet Haimson Lushkov, Katherine Wasdin, 2011-12-08 This collection brings together leading experts in a number of fields of the humanities to offer a new perspective on the classical tradition. Drawing on reception studies, philology and early modern studies, the essays explore the interaction between literary criticism and the multiple cultural contexts in which texts were produced, discovered, appropriated and translated. The intersection of Realpolitik and textual criticism, poetic and musical aesthetics, and authority and self-fashioning all come under scrutiny. The canonical Latin writers and their subsequent reception form the backbone of the volume, with a focus on the European Renaissance. It thus marks a reconnection between classical and early modern studies and the concomitant rapprochement of philological and cultural historical approaches to texts and other works of art. This book will be of interest to scholars in classics, Renaissance studies, comparative literature, English, Italian and art history. |
| christopher wood art history: Pictures and Tears James Elkins, 2005-08-02 This deeply personal account of emotion and vulnerability draws upon anecdotes related to individual works of art to present a chronicle of how people have shown emotion before works of art in the past. |
| christopher wood art history: Joan Eardley Christopher Andreae, 2013 Joan Eardley (1921-63) is considered to be one of the most influential Scottish painters of her generation. Her paintings and drawings reflect urban and rural Scotland in an expressive visual language unlike any other artist's. This new, highly illustrated survey of her painting does renewed justice to the range, scale and power of her work. |
| christopher wood art history: The Artist Project Christopher Noey, Thomas P. Campbell, 2017-09-19 Artists have long been stimulated and motivated by the work of those who came before them—sometimes, centuries before them. Interviews with 120 international contemporary artists discussing works from The Metropolitan Museum of Art's collection that spark their imagination shed new light on art-making, museums, and the creative process. Images of works from The Met collection appear alongside images of the contemporary artists' work, allowing readers to discover a rich web of visual connections that spans cultures and millennia. |
| christopher wood art history: Into the White Christopher P. Heuer, 2019-05-24 European narratives of the Atlantic New World tell stories of people and things: strange flora, wondrous animals, and sun-drenched populations for Europeans to mythologize or exploit. Yet between 1500 and 1700 one region upended all of these conventions in travel writing, science, and, most unexpectedly, art: the Arctic. Icy, unpopulated, visually and temporally “abstract,” the far North – a different kind of terra incognita for the Renaissance imagination – offered more than new stuff to be mapped, plundered, or even seen. Neither a continent, an ocean, nor a meteorological circumstance, the Arctic forced visitors from England, the Netherlands, Germany, and Italy, to grapple with what we would now call a “nonsite,” spurring dozens of previously unknown works, objects, and texts – and this all in an intellectual and political milieu crackling with Reformation debates over art’s very legitimacy. Into the White uses five case studies to probe how the early modern Arctic (as site, myth, and ecology) affected contemporary debates of perception and matter, of representation, discovery, and the time of the earth – long before the nineteenth century romanticized the polar landscape. In the far North, this book contends, the Renaissance exotic became something far stranger than the marvelous or the curious, something darkly material and unmasterable, something beyond the idea of image itself. |
| christopher wood art history: The Books that Shaped Art History: From Gombrich and Greenberg to Alpers and Krauss Richard Shone, John-Paul Stonard, 2013-04-05 An exemplary survey that reassesses the impact of the most important books to have shaped art history through the twentieth century Written by some of today’s leading art historians and curators, this new collection provides an invaluable road map of the field by comparing and reexamining canonical works of art history. From Émile Mâle’s magisterial study of thirteenth-century French art, first published in 1898, to Hans Belting’s provocative Likeness and Presence: A History of the Image before the Era of Art, the book provides a concise and insightful overview of the history of art, told through its most enduring literature. Each of the essays looks at the impact of a single major book of art history, mapping the intellectual development of the writer under review, setting out the premises and argument of the book, considering its position within the broader field of art history, and analyzing its significance in the context of both its initial reception and its afterlife. An introduction by John-Paul Stonard explores how art history has been forged by outstanding contributions to scholarship, and by the dialogues and ruptures between them. |
| christopher wood art history: Art in History/History in Art David Freedberg, Jan de Vries, 1996-07-11 Historians and art historians provide a critique of existing methodologies and an interdisciplinary inquiry into seventeenth-century Dutch art and culture. |
| christopher wood art history: Victorian Painters: The text Christopher Wood, Christopher Newall, Margaret Richardson, 1995 Contains 11,000 entries |
| christopher wood art history: Abstract Art Pepe Karmel, 2020-11-17 A leading authority on the subject presents a radically new approach to the understanding of abstract art, in this richly illustrated and persuasive history. In his fresh take on abstract art, noted art historian Pepe Karmel chronicles the movement from a global perspective, while embedding abstraction in a recognizable reality. Moving beyond the canonical terrain of abstract art, the author demonstrates how artists from around the world have used abstract imagery to express social, cultural, and spiritual experience. Karmel builds this fresh approach to abstract art around five inclusive themes: body, landscape, cosmology, architecture, and man-made signs and patterns. In the process, this history develops a series of narratives that go far beyond the established figures and movements traditionally associated with abstract art. Each narrative is complemented by a number of featured abstract works, arranged in thought-provoking pairings with accompanying extended captions that provide an in-depth analysis. This wide-ranging examination incorporates work from Asia, Australia, Africa, and South America, as well as Europe and North America, through artists ranging from Wu Guanzhong, Joan Miró, Jackson Pollock, to Hilma af Klint, and Odili Donald Odita. Breaking new ground, Karmel has forged a new history of this key art movement. |
| christopher wood art history: The Controversy of Renaissance Art Alexander Nagel, 2011-09 Sansovino successively dismantled and reconstituted the categories of art-making. Hardly capable of sustaining a program of reform, the experimental art of this period was succeeded by a new era of cultural codification in the second half of the sixteenth century. -- |
| christopher wood art history: Historical Grammar of the Visual Arts Alois Riegl, 2021-03-23 A to is Riegl (1858-1905) was one of the greatest modern art historians. The most important member of the so-called Vienna School, Riegl developed a highly refined technique of visual or formal analysis, as opposed to the iconological method with its emphasis on decoding motifs through recourse to texts. Riegl also pioneered understanding of the changing role of the viewer, the significance of non-high art objects or what would now be called visual or material culture, and theories of art and art history, including his much-debated neologism Kunstwollen (the will of art). At last, his Historical Grammar of the Visual Arts, which brings together the diverse threads of his thought, is available to an English-language audience, in a superlative translation by Jacqueline E. Jung. In one of the earliest and perhaps the most brilliant of all art historical surveys, Riegl addresses the different visual arts within a sweeping conception of the history of culture. His account derives, from Hegelian models but decisively opens onto alternative pathways that continue to complicate attempts to reduce art merely to the artist's intentions or its social and historical functions. Book jacket. |
| christopher wood art history: The Limewood Sculptors of Renaissance Germany Michael Baxandall, 1980-01-01 A detail examination of the craftsmanship and lives of German woodcarvers from 1475 to 1525 discusses their artistic styles, techniques of carving, and place in society. |
| christopher wood art history: Ingenious Mechanicks Christopher Schwarz, 2018-04 |
| christopher wood art history: Christopher Wood Richard Ingleby, 1995 Christopher Wood, aged 29, killed himself on a sunny afternoon in August 1930, at Salisbury station. He sat reading until the train was pulling into the station when he got up and threw himself in front of it, dying instantly. It was a sad and muddled end for a man who nine years before had set out for Paris with a very specific intention -- to become a painter. That he should have killed himself when he had succeeded remains an unsolved mystery. The legacy that Wood left includes, it has been said, some of the most magical works in modern European painting and in this, the first biography written about this complex man, Richard Ingleby, drawing extensively on previously unpublished material, tells how he strove from inauspicious beginnings to find his voice as a painter. |
| christopher wood art history: The Early Dürer Daniel Hess, Thomas Eser, 2012 Literature about Dürer fills library shelves. Does this mean everything has already been said about the artist? Far from it, according to the scholars at the Germanisches Nationalmuseum and their international partners in the Early Dürer Project. This book deals with the core phenomena of Dürers early work, ranging from the artists biography and surroundings to the question of Dürers role as the archetype of the modern artist. New sociological approaches allow us to interpret Dürers ideal neighbourhood as a source of inspiration for the artists work, resituating Dürer in the artistic context of his time, at an exciting crossroad between the imitation of traditional painting and the self-conscious renewal of his profession. Photographs of Dürers early work, many of which are new and published here for the first time, complete the publication, which will establish a new basis for a modern understanding of Germanys most famous artist. |
| christopher wood art history: RENAISSANCE METAPAINTING; ED. BY PETER BOKODY. Péter Bokody, Alexander Nagel, 2020 The volume offers an overview of meta-pictorial tendencies in book illumination, mural and panel painting during the Italian and Northern Renaissance. It examines visual forms of self-awareness in the changing context of Latin Christianity and claims the central role of the Renaissance in the establishment of the modern condition of art. Meta-painting refers to the ways in which artworks playfully reveal or critically expose their own fictiveness, and is considered a constitutive aspect of Western art. Its rise was connected to changes in the consumption of religious imagery in the sixteenth century and to the advent of the portable framed canvas, the single most important medium of modernity. While the key initial contributions of some Renaissance painters from Jan van Eyck to Andrea Mantegna have always been acknowledged, in the principal narrative the Renaissance has largely remained the naïve moment of realistic experimentation to be ultimately superseded by the complex reflexive developments in Early Modern art, following the Reformation. |
A History of Art History - degruyterbrill.com
Princeon University Presst Princeton and Oxford A History of Art History Christopher S. Wood
Christopher S. Wood, A History of Art History
Christopher S. Wood, A History of Art History. Princeton, NJ: Princeton University Press, 2019. Pp. 472. US$35.00 (cloth). Of all disciplines in the humanities, with the exception of …
CHRISTOPHER S. WOOD
Wood sets out to describe a moment in the history of landscape for which the project of mimesis is relatively inessential. It is not Altdorfer the naturalist whom he studies, but Altdorfer the inventor …
Aby Warburg, Homo victor - WordPress.com
Christopher S. Wood Aby Warburg has been mostly misunderstood by the British hosts of his library. This essay will suggest that this misunderstanding has itself been misunderstood. But …
Iconoclasts and Iconophiles: Horst Bredekamp in Conversation …
Christopher S. Wood: Your dissertation, published in 1975, focused on historical actors—Early Christian and Byzantine theologians, the Hussite rebels of late medieval Bohemia— who …
Christopher Wood, Ph.D. - wiko-berlin.de
historiographical and ideological hazards, I will work along the borderlands between literary history and art history, tracking symbols, motifs, plots, characters, and etymologies. Encoded in …
ART AND LIFE 1920 – 1931 - Dulwich Picture Gallery
This exhibition examines the artistic partnership between Ben Nicholson and Winifred Nicholson in the 1920s and their friendship and collaboration with Christopher Wood, Alfred Wallis and …
Anachronic Renaissance by Alexander Nagel and Christopher …
about art history’s conceptions of both the idea of “art” as well as its notions of “history.” Nagel and Wood follow the lead, if not the path, proposed by
Wood, Christopher S. A History of Art History - Érudit
Wood’s approach is chronological, moving through time from 800 to 1960, tracing origins and influences, examining key texts in the history of art history through comparison and contrast: a …
Christopher Wood has written one of the most thought-
Christopher Wood has written one of the most thought-provoking books about German art to appear in recent years. Working from the premise that "the first independent landscapes in the …
LETTER ‘Jump away, jumping boy’ Matthew Sperling on …
In 1997, the Scottish artist and concrete poet Ian Hamilton Finlay produced an art- ist’s book, Painting by Numbers: A Homage to Christopher Wood, which reduces 11 of Wood’s maritime …
Norris, Christopher Wood, Lund Humphries in association …
the continent taught Wood that simplicity and refinement were the essential characteristics of modern art, and it brought a deep understanding of and appreciation for the Primitive …
A monumental step for Riegl and Schlosser in France - Journal …
Journal of Art Historiography Number 11 December 2014 A monumental step for Riegl and Schlosser in France Review of: Alois Riegl, Christopher S. Wood, Emmanuel Alloa, L'industrie …
| Christopher S. Wood | Landscapes by Wolf Huber and …
Beginning in the mid-1510s he created landscape drawings which synthe-sized the two types: they appear to be based on a real motif but are developed as compositions, that is, as …
Christopher Wood, New York University - warburg-haus.de
Christopher S. Wood ist Professor im Department of German, New York University. Von 1992 bis 2014 lehrte er am Department of History of Art der Yale University. An der Harvard University …
188 REVIEW ESSAYS ThE END OF THE HISTORY OF ART? By …
ThE END OF THE HISTORY OF ART? By Hans Belting. Translated by Christopher S. Wood. Chicago and London: The University of Chicago Press, 1987. Pp. xiii, 120. This short book by …
Quest for La Tour - ftp.unz.com
importance in the history of art, and concluding with a Leicester banking firm in the late nine-teenth century. I received a visit in my London office on 19 January from a young man called …
American History in Wood: The Levine Folk Art Collection
In my younger days, I was a wood sculptor and have about fifty pieces that I did, mainly primitive and abstract. No formal training so it fits into the category of folk art. My experience with wood …
Book Reviews - JSTOR
Terms for Art History and Mark Cheetham, Mi-chael Ann Holly, and Keith Moxey's The Sub-jects of Art History. Christopher Wood's recent book The Vienna School Reader is potentially …
A History of Art History by Christopher Wood
Christopher Wood’s A History of Art History is the latest entrant into this field. Wood is a much-respected art historian, who first made his name with a monograph on Albrecht Altdorfer and …
A History of Art History - degruyterbrill.com
Princeon University Presst Princeton and Oxford A History of Art History Christopher S. Wood
Christopher S. Wood, A History of Art History
Christopher S. Wood, A History of Art History. Princeton, NJ: Princeton University Press, 2019. Pp. 472. US$35.00 (cloth). Of all disciplines in the humanities, with the exception of …
CHRISTOPHER S. WOOD
Wood sets out to describe a moment in the history of landscape for which the project of mimesis is relatively inessential. It is not Altdorfer the naturalist whom he studies, but Altdorfer the inventor …
Aby Warburg, Homo victor - WordPress.com
Christopher S. Wood Aby Warburg has been mostly misunderstood by the British hosts of his library. This essay will suggest that this misunderstanding has itself been misunderstood. But …
Iconoclasts and Iconophiles: Horst Bredekamp in Conversation …
Christopher S. Wood: Your dissertation, published in 1975, focused on historical actors—Early Christian and Byzantine theologians, the Hussite rebels of late medieval Bohemia— who …
Christopher Wood, Ph.D. - wiko-berlin.de
historiographical and ideological hazards, I will work along the borderlands between literary history and art history, tracking symbols, motifs, plots, characters, and etymologies. Encoded in …
ART AND LIFE 1920 – 1931 - Dulwich Picture Gallery
This exhibition examines the artistic partnership between Ben Nicholson and Winifred Nicholson in the 1920s and their friendship and collaboration with Christopher Wood, Alfred Wallis and …
Anachronic Renaissance by Alexander Nagel and Christopher …
about art history’s conceptions of both the idea of “art” as well as its notions of “history.” Nagel and Wood follow the lead, if not the path, proposed by
Wood, Christopher S. A History of Art History - Érudit
Wood’s approach is chronological, moving through time from 800 to 1960, tracing origins and influences, examining key texts in the history of art history through comparison and contrast: a …
Christopher Wood has written one of the most thought-
Christopher Wood has written one of the most thought-provoking books about German art to appear in recent years. Working from the premise that "the first independent landscapes in the …
LETTER ‘Jump away, jumping boy’ Matthew Sperling on …
In 1997, the Scottish artist and concrete poet Ian Hamilton Finlay produced an art- ist’s book, Painting by Numbers: A Homage to Christopher Wood, which reduces 11 of Wood’s maritime …
Norris, Christopher Wood, Lund Humphries in association …
the continent taught Wood that simplicity and refinement were the essential characteristics of modern art, and it brought a deep understanding of and appreciation for the Primitive …
A monumental step for Riegl and Schlosser in France - Journal …
Journal of Art Historiography Number 11 December 2014 A monumental step for Riegl and Schlosser in France Review of: Alois Riegl, Christopher S. Wood, Emmanuel Alloa, L'industrie …
| Christopher S. Wood | Landscapes by Wolf Huber and …
Beginning in the mid-1510s he created landscape drawings which synthe-sized the two types: they appear to be based on a real motif but are developed as compositions, that is, as …
Christopher Wood, New York University - warburg-haus.de
Christopher S. Wood ist Professor im Department of German, New York University. Von 1992 bis 2014 lehrte er am Department of History of Art der Yale University. An der Harvard University …
188 REVIEW ESSAYS ThE END OF THE HISTORY OF ART? By …
ThE END OF THE HISTORY OF ART? By Hans Belting. Translated by Christopher S. Wood. Chicago and London: The University of Chicago Press, 1987. Pp. xiii, 120. This short book by …
Quest for La Tour - ftp.unz.com
importance in the history of art, and concluding with a Leicester banking firm in the late nine-teenth century. I received a visit in my London office on 19 January from a young man called …
American History in Wood: The Levine Folk Art Collection
In my younger days, I was a wood sculptor and have about fifty pieces that I did, mainly primitive and abstract. No formal training so it fits into the category of folk art. My experience with wood …
Book Reviews - JSTOR
Terms for Art History and Mark Cheetham, Mi-chael Ann Holly, and Keith Moxey's The Sub-jects of Art History. Christopher Wood's recent book The Vienna School Reader is potentially …
