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Catholic Debates at the Time of Trent.
With an Edition and Translation of Key Documents.
With an Edition and Translation of Key Documents.
The Catholic Church answered Reformation-era contestations of the cult of images in a famous decree of the Council of Trent (1563).
Art in Dispute revisits this response by focusing on its antecedents rather than its consequences. The mid-sixteenth century saw, besides new scholarship on Byzantine doctrines, heated debates about neo-scholastic interpretations. Disagreement, suppressed at Trent but re-emerging soon afterwards, centered on the question whether religious images were solely signs referring to holy subjects or also sacred objects in their own right. It was a debate with major implications for art theory and devotional practice.
The volume contains editions and translations of texts by Martín Pérez de Ayala, Matthieu Ory, Jean Calvin, Ambrogio Catarino Politi, and Iacopo Nacchianti, along with a previously unknown draft of the Tridentine decree.
The volume contains editions and translations of texts by Martín Pérez de Ayala, Matthieu Ory, Jean Calvin, Ambrogio Catarino Politi, and Iacopo Nacchianti, along with a previously unknown draft of the Tridentine decree.
Catholic Debates at the Time of Trent.
With an Edition and Translation of Key Documents.
With an Edition and Translation of Key Documents.
The Catholic Church answered Reformation-era contestations of the cult of images in a famous decree of the Council of Trent (1563).
Art in Dispute revisits this response by focusing on its antecedents rather than its consequences. The mid-sixteenth century saw, besides new scholarship on Byzantine doctrines, heated debates about neo-scholastic interpretations. Disagreement, suppressed at Trent but re-emerging soon afterwards, centered on the question whether religious images were solely signs referring to holy subjects or also sacred objects in their own right. It was a debate with major implications for art theory and devotional practice.
The volume contains editions and translations of texts by Martín Pérez de Ayala, Matthieu Ory, Jean Calvin, Ambrogio Catarino Politi, and Iacopo Nacchianti, along with a previously unknown draft of the Tridentine decree.
The volume contains editions and translations of texts by Martín Pérez de Ayala, Matthieu Ory, Jean Calvin, Ambrogio Catarino Politi, and Iacopo Nacchianti, along with a previously unknown draft of the Tridentine decree.
In epideictic oratory, ekphrasis is typically identified as an advanced rhetorical exercise that verbally reproduces the experience of viewing a person, place, or thing; more specifically, it often purports to replicate the experience of viewing a work of art. Not only what was seen, but also how it was beheld, and the emotions attendant upon first viewing it, are implicitly construed as recoverable, indeed reproducible.
This volume examines how and why many early modern pictures operate in an ekphrastic mode: such pictures claim to reconstitute works of art that solely survived in the textual form of an ekphrasis; or they invite the beholder to respond to a picture in the way s/he responds to a stirring verbal image; or they call attention to their status as an image, in the way that ekphrasis, as a rhetorical figure, makes one conscious of the process of image-making; or finally, they foreground the artist’s or the viewer’s agency, in the way that the rhetor or auditor is adduced as agent of the image being verbally produced.
The contributors are:
Carol Elaine Barbour, MA, University of Toronto, 2014, is an MPhil/PhD student at the Warburg Institute, University of London. Her research project examines the transmission and reception of the Tabula Cebetis, c. 1500-1600.
James Clifton, PhD, 1987, Princeton University, is Director of the Sarah Campbell Blaffer Foundation and Curator in Renaissance and Baroque Painting at the Museum of Fine Arts, Houston. He has curated exhibitions and published extensively on early-modern European art and culture.
Teresa Clifton is a Lecturer in Hispanic Languages and Literatures at the University of Pittsburgh. She received her PhD in Hispanic Studies from Brown University in 2019 with a dissertation on the pastoral mode in colonial Mexican fiction.
Arthur J. DiFuria, PhD., 2008, University of Delaware, is Chair and Professor of Art History at Savannah College of Art and Design, Savannah, GA, specializing in early modern northern European art. In addition to several articles on sixteenth century antiquarianism, prints, and drawings, he is the editor of Genre Imagery in Early Modern Northern Europe: New Perspectives (2016) and the author of Maarten van Heemskerck’s Rome: Antiquity, Memory, and the Netherlandish Cult of Ruins (2019).
Christopher P. Heuer is Professor art Art and Architecture at the University of Rochester, New York. He is the author, most recently, of Into the White: The Renaissance Arctic and the End of the Image, and Andrea Buttner: Liber Vagatorum.
Barbara A. Kaminska, PhD, 2014, University of California, Santa Barbara, is Assistant Professor of Art History at Sam Houston State University. Her research focuses on Netherlandish painting and printmaking, the Protestant Reformation, and the cultural history of disability.
Annie McEwen, Ph.D. Candidate, Emory University. Her dissertation research focuses on antiquarianism and reproductive printmaking in pre-modern Rome through the work of Pietro Santi Bartoli and Giovanni Pietro Bellori.
Walter S. Melion, PhD, 1988, University of California, Berkeley, is Asa Griggs Candler Professor of Art History at Emory University. He has published widely on Netherlandish art and art theory, on early modern printmaking, and on meditative, mnemonic, and emblematic image-making, amongst other topics.
Dawn Odell, PhD, 2003, University of Chicago, is an Associate Professor of Art History at Lewis & Clark College. Her publications focus on the exchange of objects and artistic practices between China, the Netherlands, and North America in the seventeenth and eighteenth centuries.
April Oettinger, PhD, University of Virginia, is Professor of Art History & Visual Culture and Cushing Professor of the Humanities at Goucher College. Her publications explore the poetics and production of Nature in early modern visual and literary culture.
Shelley Perlove, Scholar in Residence at the University of Michigan, Ann Arbor, and Professor Emerita, UM-Dearborn, publishes widely in Italian and Dutch early modern art, with emphasis upon religious culture and politics in the art of Bernini, Guercino, and Rembrandt and his followers.
Stephanie Porras is Associate Professor of Art History and Chair of the Newcomb Art Department at Tulane University. Her research focuses on the visual and material culture of Northern Europe and the Spanish world from the fifteenth to the seventeenth centuries, with particular focus on early modern print.
Femke Speelberg M.Phil. is Associate Curator of Historic Ornament, Design and Architecture in the Department of Drawings & Prints at the Metropolitan Museum of Art. Her research focuses on art works and resources that document the transmission of ideas, motifs and styles.
Elliott D. Wise, PhD, 2016, Emory University, Atlanta, is assistant professor of Art History at Brigham Young University. His research focuses on late medieval and early modern devotional art, especially questions of liturgy, Eucharistic and Marian piety, and mysticism.
Steffen Zierholz is currently Visiting Professor at the Ruhr University Bochum. His research focuses on Jesuit sacred art, painting on stone, as well as on the aesthetics and materiality of the early modern surface.
This volume examines how and why many early modern pictures operate in an ekphrastic mode: such pictures claim to reconstitute works of art that solely survived in the textual form of an ekphrasis; or they invite the beholder to respond to a picture in the way s/he responds to a stirring verbal image; or they call attention to their status as an image, in the way that ekphrasis, as a rhetorical figure, makes one conscious of the process of image-making; or finally, they foreground the artist’s or the viewer’s agency, in the way that the rhetor or auditor is adduced as agent of the image being verbally produced.
The contributors are:
Carol Elaine Barbour, MA, University of Toronto, 2014, is an MPhil/PhD student at the Warburg Institute, University of London. Her research project examines the transmission and reception of the Tabula Cebetis, c. 1500-1600.
James Clifton, PhD, 1987, Princeton University, is Director of the Sarah Campbell Blaffer Foundation and Curator in Renaissance and Baroque Painting at the Museum of Fine Arts, Houston. He has curated exhibitions and published extensively on early-modern European art and culture.
Teresa Clifton is a Lecturer in Hispanic Languages and Literatures at the University of Pittsburgh. She received her PhD in Hispanic Studies from Brown University in 2019 with a dissertation on the pastoral mode in colonial Mexican fiction.
Arthur J. DiFuria, PhD., 2008, University of Delaware, is Chair and Professor of Art History at Savannah College of Art and Design, Savannah, GA, specializing in early modern northern European art. In addition to several articles on sixteenth century antiquarianism, prints, and drawings, he is the editor of Genre Imagery in Early Modern Northern Europe: New Perspectives (2016) and the author of Maarten van Heemskerck’s Rome: Antiquity, Memory, and the Netherlandish Cult of Ruins (2019).
Christopher P. Heuer is Professor art Art and Architecture at the University of Rochester, New York. He is the author, most recently, of Into the White: The Renaissance Arctic and the End of the Image, and Andrea Buttner: Liber Vagatorum.
Barbara A. Kaminska, PhD, 2014, University of California, Santa Barbara, is Assistant Professor of Art History at Sam Houston State University. Her research focuses on Netherlandish painting and printmaking, the Protestant Reformation, and the cultural history of disability.
Annie McEwen, Ph.D. Candidate, Emory University. Her dissertation research focuses on antiquarianism and reproductive printmaking in pre-modern Rome through the work of Pietro Santi Bartoli and Giovanni Pietro Bellori.
Walter S. Melion, PhD, 1988, University of California, Berkeley, is Asa Griggs Candler Professor of Art History at Emory University. He has published widely on Netherlandish art and art theory, on early modern printmaking, and on meditative, mnemonic, and emblematic image-making, amongst other topics.
Dawn Odell, PhD, 2003, University of Chicago, is an Associate Professor of Art History at Lewis & Clark College. Her publications focus on the exchange of objects and artistic practices between China, the Netherlands, and North America in the seventeenth and eighteenth centuries.
April Oettinger, PhD, University of Virginia, is Professor of Art History & Visual Culture and Cushing Professor of the Humanities at Goucher College. Her publications explore the poetics and production of Nature in early modern visual and literary culture.
Shelley Perlove, Scholar in Residence at the University of Michigan, Ann Arbor, and Professor Emerita, UM-Dearborn, publishes widely in Italian and Dutch early modern art, with emphasis upon religious culture and politics in the art of Bernini, Guercino, and Rembrandt and his followers.
Stephanie Porras is Associate Professor of Art History and Chair of the Newcomb Art Department at Tulane University. Her research focuses on the visual and material culture of Northern Europe and the Spanish world from the fifteenth to the seventeenth centuries, with particular focus on early modern print.
Femke Speelberg M.Phil. is Associate Curator of Historic Ornament, Design and Architecture in the Department of Drawings & Prints at the Metropolitan Museum of Art. Her research focuses on art works and resources that document the transmission of ideas, motifs and styles.
Elliott D. Wise, PhD, 2016, Emory University, Atlanta, is assistant professor of Art History at Brigham Young University. His research focuses on late medieval and early modern devotional art, especially questions of liturgy, Eucharistic and Marian piety, and mysticism.
Steffen Zierholz is currently Visiting Professor at the Ruhr University Bochum. His research focuses on Jesuit sacred art, painting on stone, as well as on the aesthetics and materiality of the early modern surface.
Series:
Intersections, Volume: 79
In epideictic oratory, ekphrasis is typically identified as an advanced rhetorical exercise that verbally reproduces the experience of viewing a person, place, or thing; more specifically, it often purports to replicate the experience of viewing a work of art. Not only what was seen, but also how it was beheld, and the emotions attendant upon first viewing it, are implicitly construed as recoverable, indeed reproducible.
This volume examines how and why many early modern pictures operate in an ekphrastic mode: such pictures claim to reconstitute works of art that solely survived in the textual form of an ekphrasis; or they invite the beholder to respond to a picture in the way s/he responds to a stirring verbal image; or they call attention to their status as an image, in the way that ekphrasis, as a rhetorical figure, makes one conscious of the process of image-making; or finally, they foreground the artist’s or the viewer’s agency, in the way that the rhetor or auditor is adduced as agent of the image being verbally produced.
The contributors are:
Carol Elaine Barbour, MA, University of Toronto, 2014, is an MPhil/PhD student at the Warburg Institute, University of London. Her research project examines the transmission and reception of the Tabula Cebetis, c. 1500-1600.
James Clifton, PhD, 1987, Princeton University, is Director of the Sarah Campbell Blaffer Foundation and Curator in Renaissance and Baroque Painting at the Museum of Fine Arts, Houston. He has curated exhibitions and published extensively on early-modern European art and culture.
Teresa Clifton is a Lecturer in Hispanic Languages and Literatures at the University of Pittsburgh. She received her PhD in Hispanic Studies from Brown University in 2019 with a dissertation on the pastoral mode in colonial Mexican fiction.
Arthur J. DiFuria, PhD., 2008, University of Delaware, is Chair and Professor of Art History at Savannah College of Art and Design, Savannah, GA, specializing in early modern northern European art. In addition to several articles on sixteenth century antiquarianism, prints, and drawings, he is the editor of Genre Imagery in Early Modern Northern Europe: New Perspectives (2016) and the author of Maarten van Heemskerck’s Rome: Antiquity, Memory, and the Netherlandish Cult of Ruins (2019).
Christopher P. Heuer is Professor art Art and Architecture at the University of Rochester, New York. He is the author, most recently, of Into the White: The Renaissance Arctic and the End of the Image, and Andrea Buttner: Liber Vagatorum.
Barbara A. Kaminska, PhD, 2014, University of California, Santa Barbara, is Assistant Professor of Art History at Sam Houston State University. Her research focuses on Netherlandish painting and printmaking, the Protestant Reformation, and the cultural history of disability.
Annie McEwen, Ph.D. Candidate, Emory University. Her dissertation research focuses on antiquarianism and reproductive printmaking in pre-modern Rome through the work of Pietro Santi Bartoli and Giovanni Pietro Bellori.
Walter S. Melion, PhD, 1988, University of California, Berkeley, is Asa Griggs Candler Professor of Art History at Emory University. He has published widely on Netherlandish art and art theory, on early modern printmaking, and on meditative, mnemonic, and emblematic image-making, amongst other topics.
Dawn Odell, PhD, 2003, University of Chicago, is an Associate Professor of Art History at Lewis & Clark College. Her publications focus on the exchange of objects and artistic practices between China, the Netherlands, and North America in the seventeenth and eighteenth centuries.
April Oettinger, PhD, University of Virginia, is Professor of Art History & Visual Culture and Cushing Professor of the Humanities at Goucher College. Her publications explore the poetics and production of Nature in early modern visual and literary culture.
Shelley Perlove, Scholar in Residence at the University of Michigan, Ann Arbor, and Professor Emerita, UM-Dearborn, publishes widely in Italian and Dutch early modern art, with emphasis upon religious culture and politics in the art of Bernini, Guercino, and Rembrandt and his followers.
Stephanie Porras is Associate Professor of Art History and Chair of the Newcomb Art Department at Tulane University. Her research focuses on the visual and material culture of Northern Europe and the Spanish world from the fifteenth to the seventeenth centuries, with particular focus on early modern print.
Femke Speelberg M.Phil. is Associate Curator of Historic Ornament, Design and Architecture in the Department of Drawings & Prints at the Metropolitan Museum of Art. Her research focuses on art works and resources that document the transmission of ideas, motifs and styles.
Elliott D. Wise, PhD, 2016, Emory University, Atlanta, is assistant professor of Art History at Brigham Young University. His research focuses on late medieval and early modern devotional art, especially questions of liturgy, Eucharistic and Marian piety, and mysticism.
Steffen Zierholz is currently Visiting Professor at the Ruhr University Bochum. His research focuses on Jesuit sacred art, painting on stone, as well as on the aesthetics and materiality of the early modern surface.
This volume examines how and why many early modern pictures operate in an ekphrastic mode: such pictures claim to reconstitute works of art that solely survived in the textual form of an ekphrasis; or they invite the beholder to respond to a picture in the way s/he responds to a stirring verbal image; or they call attention to their status as an image, in the way that ekphrasis, as a rhetorical figure, makes one conscious of the process of image-making; or finally, they foreground the artist’s or the viewer’s agency, in the way that the rhetor or auditor is adduced as agent of the image being verbally produced.
The contributors are:
Carol Elaine Barbour, MA, University of Toronto, 2014, is an MPhil/PhD student at the Warburg Institute, University of London. Her research project examines the transmission and reception of the Tabula Cebetis, c. 1500-1600.
James Clifton, PhD, 1987, Princeton University, is Director of the Sarah Campbell Blaffer Foundation and Curator in Renaissance and Baroque Painting at the Museum of Fine Arts, Houston. He has curated exhibitions and published extensively on early-modern European art and culture.
Teresa Clifton is a Lecturer in Hispanic Languages and Literatures at the University of Pittsburgh. She received her PhD in Hispanic Studies from Brown University in 2019 with a dissertation on the pastoral mode in colonial Mexican fiction.
Arthur J. DiFuria, PhD., 2008, University of Delaware, is Chair and Professor of Art History at Savannah College of Art and Design, Savannah, GA, specializing in early modern northern European art. In addition to several articles on sixteenth century antiquarianism, prints, and drawings, he is the editor of Genre Imagery in Early Modern Northern Europe: New Perspectives (2016) and the author of Maarten van Heemskerck’s Rome: Antiquity, Memory, and the Netherlandish Cult of Ruins (2019).
Christopher P. Heuer is Professor art Art and Architecture at the University of Rochester, New York. He is the author, most recently, of Into the White: The Renaissance Arctic and the End of the Image, and Andrea Buttner: Liber Vagatorum.
Barbara A. Kaminska, PhD, 2014, University of California, Santa Barbara, is Assistant Professor of Art History at Sam Houston State University. Her research focuses on Netherlandish painting and printmaking, the Protestant Reformation, and the cultural history of disability.
Annie McEwen, Ph.D. Candidate, Emory University. Her dissertation research focuses on antiquarianism and reproductive printmaking in pre-modern Rome through the work of Pietro Santi Bartoli and Giovanni Pietro Bellori.
Walter S. Melion, PhD, 1988, University of California, Berkeley, is Asa Griggs Candler Professor of Art History at Emory University. He has published widely on Netherlandish art and art theory, on early modern printmaking, and on meditative, mnemonic, and emblematic image-making, amongst other topics.
Dawn Odell, PhD, 2003, University of Chicago, is an Associate Professor of Art History at Lewis & Clark College. Her publications focus on the exchange of objects and artistic practices between China, the Netherlands, and North America in the seventeenth and eighteenth centuries.
April Oettinger, PhD, University of Virginia, is Professor of Art History & Visual Culture and Cushing Professor of the Humanities at Goucher College. Her publications explore the poetics and production of Nature in early modern visual and literary culture.
Shelley Perlove, Scholar in Residence at the University of Michigan, Ann Arbor, and Professor Emerita, UM-Dearborn, publishes widely in Italian and Dutch early modern art, with emphasis upon religious culture and politics in the art of Bernini, Guercino, and Rembrandt and his followers.
Stephanie Porras is Associate Professor of Art History and Chair of the Newcomb Art Department at Tulane University. Her research focuses on the visual and material culture of Northern Europe and the Spanish world from the fifteenth to the seventeenth centuries, with particular focus on early modern print.
Femke Speelberg M.Phil. is Associate Curator of Historic Ornament, Design and Architecture in the Department of Drawings & Prints at the Metropolitan Museum of Art. Her research focuses on art works and resources that document the transmission of ideas, motifs and styles.
Elliott D. Wise, PhD, 2016, Emory University, Atlanta, is assistant professor of Art History at Brigham Young University. His research focuses on late medieval and early modern devotional art, especially questions of liturgy, Eucharistic and Marian piety, and mysticism.
Steffen Zierholz is currently Visiting Professor at the Ruhr University Bochum. His research focuses on Jesuit sacred art, painting on stone, as well as on the aesthetics and materiality of the early modern surface.
Eine Archäologie der Gegenwartskunst
Das Buch rekonstruiert die historischen und symbolischen Voraussetzungen von Gegenwartskunst in der Niederländischen Malerei zwischen dem 15. und dem 17. Jahrhundert.
Hat Gegenwartskunst eine Geschichte? Helmut Draxler blickt hinter die Begründungsmythen von Moderne und Gegenwartskunst als heroische Überwindungsleistungen alles Alten im Namen eines Neuen. Eine Tradition des Gegenwartsbezugs von Kunst wird hierbei sichtbar, die tief in jener Geschichte verwurzelt ist, als die Malerei begann, um ihren Status als Kunst zu ringen. Die historischen Niederlande zwischen dem 15. und dem 17. Jahrhundert stellen den exemplarischen Schauplatz dieses Ringens dar. Durch den Verlust vorgegebener Wahrheiten und Funktionen entwickelt die Malerei – im Spannungsfeld zwischen ökonomischen, politischen und religiösen Krisen – Strategien der Selbstbehauptung als Kunst. Anhand besonderer Bildideen – dem Bild als Schwelle, dem antagonistischen, dem analytischen und dem synthetischen Bild – wird die Wirkmächtigkeit dieser Strategien nachvollzogen und so das Nachleben der Niederländischen Malerei als Gegenwartskunst erfasst.
Hat Gegenwartskunst eine Geschichte? Helmut Draxler blickt hinter die Begründungsmythen von Moderne und Gegenwartskunst als heroische Überwindungsleistungen alles Alten im Namen eines Neuen. Eine Tradition des Gegenwartsbezugs von Kunst wird hierbei sichtbar, die tief in jener Geschichte verwurzelt ist, als die Malerei begann, um ihren Status als Kunst zu ringen. Die historischen Niederlande zwischen dem 15. und dem 17. Jahrhundert stellen den exemplarischen Schauplatz dieses Ringens dar. Durch den Verlust vorgegebener Wahrheiten und Funktionen entwickelt die Malerei – im Spannungsfeld zwischen ökonomischen, politischen und religiösen Krisen – Strategien der Selbstbehauptung als Kunst. Anhand besonderer Bildideen – dem Bild als Schwelle, dem antagonistischen, dem analytischen und dem synthetischen Bild – wird die Wirkmächtigkeit dieser Strategien nachvollzogen und so das Nachleben der Niederländischen Malerei als Gegenwartskunst erfasst.
Eine Archäologie der Gegenwartskunst
Das Buch rekonstruiert die historischen und symbolischen Voraussetzungen von Gegenwartskunst in der Niederländischen Malerei zwischen dem 15. und dem 17. Jahrhundert.
Hat Gegenwartskunst eine Geschichte? Helmut Draxler blickt hinter die Begründungsmythen von Moderne und Gegenwartskunst als heroische Überwindungsleistungen alles Alten im Namen eines Neuen. Eine Tradition des Gegenwartsbezugs von Kunst wird hierbei sichtbar, die tief in jener Geschichte verwurzelt ist, als die Malerei begann, um ihren Status als Kunst zu ringen. Die historischen Niederlande zwischen dem 15. und dem 17. Jahrhundert stellen den exemplarischen Schauplatz dieses Ringens dar. Durch den Verlust vorgegebener Wahrheiten und Funktionen entwickelt die Malerei – im Spannungsfeld zwischen ökonomischen, politischen und religiösen Krisen – Strategien der Selbstbehauptung als Kunst. Anhand besonderer Bildideen – dem Bild als Schwelle, dem antagonistischen, dem analytischen und dem synthetischen Bild – wird die Wirkmächtigkeit dieser Strategien nachvollzogen und so das Nachleben der Niederländischen Malerei als Gegenwartskunst erfasst.
Hat Gegenwartskunst eine Geschichte? Helmut Draxler blickt hinter die Begründungsmythen von Moderne und Gegenwartskunst als heroische Überwindungsleistungen alles Alten im Namen eines Neuen. Eine Tradition des Gegenwartsbezugs von Kunst wird hierbei sichtbar, die tief in jener Geschichte verwurzelt ist, als die Malerei begann, um ihren Status als Kunst zu ringen. Die historischen Niederlande zwischen dem 15. und dem 17. Jahrhundert stellen den exemplarischen Schauplatz dieses Ringens dar. Durch den Verlust vorgegebener Wahrheiten und Funktionen entwickelt die Malerei – im Spannungsfeld zwischen ökonomischen, politischen und religiösen Krisen – Strategien der Selbstbehauptung als Kunst. Anhand besonderer Bildideen – dem Bild als Schwelle, dem antagonistischen, dem analytischen und dem synthetischen Bild – wird die Wirkmächtigkeit dieser Strategien nachvollzogen und so das Nachleben der Niederländischen Malerei als Gegenwartskunst erfasst.
Kunstgeschichte in eigener Sache
Wer PRO DOMO redet, spricht ‚für das eigene Haus‘, das heißt in eigener Sache. Auf welche Weise Vertraute von KünstlerInnen aktiv und nachhaltig Kunstgeschichte gestalten, untersucht dieser Band.
Aus dem direkten Umfeld von KünstlerInnen versuchen sich immer wieder Personen an einer PRO DOMO-Kunstgeschichte: als Text, Fotoreportage oder Film. Solche Formen einer oft dezidiert parteiischen Kunstgeschichtsschreibung werden hier erstmals umfassend analysiert. Den Ausgangspunkt bilden Schriften, die meist im unmittelbaren Umfeld von KünstlerInnen ‒ zuweilen auch in direkter Kooperation ‒ entstanden sind und die somit gleichsam für diese das Wort ergreifen. Thematisch spannt das Buch einen Bogen von den Anfängen im 15. Jahrhundert bis in die Gegenwart und fragt auch danach, was dieses PRO DOMO-Prinzip für die Kunstgeschichte insgesamt bedeutet und wie heute mit einer solchen Involvierung umzugehen ist.
Aus dem direkten Umfeld von KünstlerInnen versuchen sich immer wieder Personen an einer PRO DOMO-Kunstgeschichte: als Text, Fotoreportage oder Film. Solche Formen einer oft dezidiert parteiischen Kunstgeschichtsschreibung werden hier erstmals umfassend analysiert. Den Ausgangspunkt bilden Schriften, die meist im unmittelbaren Umfeld von KünstlerInnen ‒ zuweilen auch in direkter Kooperation ‒ entstanden sind und die somit gleichsam für diese das Wort ergreifen. Thematisch spannt das Buch einen Bogen von den Anfängen im 15. Jahrhundert bis in die Gegenwart und fragt auch danach, was dieses PRO DOMO-Prinzip für die Kunstgeschichte insgesamt bedeutet und wie heute mit einer solchen Involvierung umzugehen ist.
Kunstgeschichte in eigener Sache
Wer PRO DOMO redet, spricht ‚für das eigene Haus‘, das heißt in eigener Sache. Auf welche Weise Vertraute von KünstlerInnen aktiv und nachhaltig Kunstgeschichte gestalten, untersucht dieser Band.
Aus dem direkten Umfeld von KünstlerInnen versuchen sich immer wieder Personen an einer PRO DOMO-Kunstgeschichte: als Text, Fotoreportage oder Film. Solche Formen einer oft dezidiert parteiischen Kunstgeschichtsschreibung werden hier erstmals umfassend analysiert. Den Ausgangspunkt bilden Schriften, die meist im unmittelbaren Umfeld von KünstlerInnen ‒ zuweilen auch in direkter Kooperation ‒ entstanden sind und die somit gleichsam für diese das Wort ergreifen. Thematisch spannt das Buch einen Bogen von den Anfängen im 15. Jahrhundert bis in die Gegenwart und fragt auch danach, was dieses PRO DOMO-Prinzip für die Kunstgeschichte insgesamt bedeutet und wie heute mit einer solchen Involvierung umzugehen ist.
Aus dem direkten Umfeld von KünstlerInnen versuchen sich immer wieder Personen an einer PRO DOMO-Kunstgeschichte: als Text, Fotoreportage oder Film. Solche Formen einer oft dezidiert parteiischen Kunstgeschichtsschreibung werden hier erstmals umfassend analysiert. Den Ausgangspunkt bilden Schriften, die meist im unmittelbaren Umfeld von KünstlerInnen ‒ zuweilen auch in direkter Kooperation ‒ entstanden sind und die somit gleichsam für diese das Wort ergreifen. Thematisch spannt das Buch einen Bogen von den Anfängen im 15. Jahrhundert bis in die Gegenwart und fragt auch danach, was dieses PRO DOMO-Prinzip für die Kunstgeschichte insgesamt bedeutet und wie heute mit einer solchen Involvierung umzugehen ist.
Translated with an Introduction and Notes by James O. Young and Margaret Cameron
Jean-Baptiste Du Bos’
is one of the seminal works of modern aesthetics. Du Bos rejected the seventeenth-century view that works of art are assessed by reason. Instead, he believed, audience members have sentiments in response to artworks. Their sentiments are fainter versions of those they would feel in response to actually seeing what the work of art imitates. Du Bos was influenced by John Locke’s empiricism and, in turn, had a major impact on virtually every major eighteenth-century contributor to philosophy of art, including Voltaire, Montesquieu, Diderot, Rousseau, Herder, Lessing, Mendelssohn, Kames, Gerard, and Hume. This is the first modern, annotated and scholarly edition of the
Critical Reflections in any language.
Translated with an Introduction and Notes by James O. Young and Margaret Cameron
Jean-Baptiste Du Bos’
is one of the seminal works of modern aesthetics. Du Bos rejected the seventeenth-century view that works of art are assessed by reason. Instead, he believed, audience members have sentiments in response to artworks. Their sentiments are fainter versions of those they would feel in response to actually seeing what the work of art imitates. Du Bos was influenced by John Locke’s empiricism and, in turn, had a major impact on virtually every major eighteenth-century contributor to philosophy of art, including Voltaire, Montesquieu, Diderot, Rousseau, Herder, Lessing, Mendelssohn, Kames, Gerard, and Hume. This is the first modern, annotated and scholarly edition of the
Critical Reflections in any language.
This book provides philosophical insight into the nature of reality by reflecting on its ontological qualities through the medium of film. The main question is whether we have access to reality through film that is not based on visual representation or narration: Is film—in spite of its immateriality—a way to directly grasp and reproduce reality? Why do we perceive film as “real” at all? What does it mean to define its own reproducibility as an ontological feature of reality? And what does film as a medium exactly show? The contributions in this book provide, from a cinematic perspective, diverse philosophical analyses to the understanding of the challenging concept of “the real of reality”.
This book provides philosophical insight into the nature of reality by reflecting on its ontological qualities through the medium of film. The main question is whether we have access to reality through film that is not based on visual representation or narration: Is film—in spite of its immateriality—a way to directly grasp and reproduce reality? Why do we perceive film as “real” at all? What does it mean to define its own reproducibility as an ontological feature of reality? And what does film as a medium exactly show? The contributions in this book provide, from a cinematic perspective, diverse philosophical analyses to the understanding of the challenging concept of “the real of reality”.