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38 Cards in this Set
- Front
- Back
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Barthes, Roland
The Death of the Author |
MULTIPLICITY OF WRITING CONVERGES IN READER; COMES w/ DEATH OF AUTHOR (1968)
-ideas, not author -text replaces lost voice -Surrealism -writing = clash of unoriginal ideas |
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Burckhardt, Jacob
Reflects on History |
TAKE TRAVERSE SECTIONS OF HISTORY IN NOVEL COMBINATIONS WITH AS MUCH INFORMATION AS IS AVAILABLE (1872)
-no a singular system of purpose (emp) -Centaur: subordinate/coordinate -not privy to eternal wisdom/origins -histories are reflections of self |
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Foucault, Michel
The Order of Things |
UNCONSCIOUSNESS OF WESTERN EPISTEME MUST BE ACKNOWLEDGED (1970)
-things suffer in law of geometry -Heterotopias destroy tabula -order: inner law/nothing > than grid -btwn codes/order = true experience |
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Foucault, Michel
What is an Author |
AUTHOR IS AN IDEOLOGICAL PRODUCT CONSTRUCTED BY THE AUTHOR FUNCTION, THE WORK, AND THE AUTHOR NAME (1969)
-immanent rule: how said/not what -what generates author’s ideas? -author = icon that is obj. of investing. -author created by the work -return to origin: change practice itself |
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Ginzburg,
Carlo Morelli, Freud, and Sherlock Holmes |
SCIENTIFIC APPROACH TO CONNOISSEURSHIP OFFERED BY MORELLI HAS ANCIENT ROOTS & PENETRATES MULTIPLE LEVELS OF SOCIETY (1983)
-those that read clues 1st tell story -high (sup. Know), low (know→un-K) -scientific = printing press, Galileo -qualitative/quantitative |
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Gombrich, Ernst
In Search of Cultural History |
CULTURAL HISTORIAN SHOULD HAVE NO PRECONCEIVED NOTIONS (ESPECIALLY NOT HEGELIAN, WHICH IS UTTERLY TOTALIZING) (1972)
art makes art? = questioning Hegel -exegetic method: intrp. Based on similar -super-ind collective: Hegelian spirit -should look at individual cultural history |
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Gombrich, Ernst
Style |
STYLE IS AN EXPRESSIVE CHOICE THAT ACCORDS w/ METAPHYSICAL, AND CAN PROVIDE STARTING POINT INTO CULTURAL NARRATIVES (1968)
-style =expressive choice, distinct &recog. -label style with normative -tech & competition change style -physiognomy of style = spirit of age |
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Hegel
Aesthetics |
ART IS DIVINED BY THE ABSOLUTE SPIRIT (1886)
-Idea of beauty of art: individual reality & configuration → reveal idea -Freedom = freedom of will -Hierarchies of art acc. to material weight |
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Kant, Immanuel
The Critique of Judgment 1790 |
AESTHETIC JUDGEMENT RELIES ON A SUBJECTIVE PRINCIPLE, AND THEREFORE IT IS IMPOSSIBLE TO DERIVE A FORMULAIC MODEL OF COGNITION (?) 1790
-ideal: repr ind existence adequate to idea -judgment: btwn understanding/reason -judg. as faculty: reflective/determinant -judg. of taste: subjective -delight: cognition/sensation of pleasure -agreeability: sensation, not understand -good: cognitive, not sensuous -beauty brings universal delight -universal agreement on taste |
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Morelli, Giovanni
Italian painters |
PROPOSING SCIENTIFIC METHOD TO ATTRIBUTE PROPER AUTHORSHIP, WHICH REFLECTS INTIMATE UNDERSTANDING OF ARTIST’S ESSENTIAL CHARACTER (THROUGH DETAIL) 1890
-writing can be false; only art = document -to attribute authorship, not impress/doc -connoisseur = objective visual analysis |
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Panofsky, Erwin
The History of the Theory of Human Proportions |
HUMAN PROPORTIONS ARE UNIQUE TO, AND DEFINE STYLE (1955)
-proportions express kuntswollen = style -technical: formulaic scale, obj.: normal -style is a taxonomy = not purely objectiv. -preceded modern body theory |
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Panofsky, Erwin
The History of Art as a Humanist discipline |
ART & ART HISTORY RECONSTRUCT INTENTIONS OF ARTISTS THROUGH INSTITUTIONAL PRACTICE (1940)
-humanity: conviction/dignity of man -humanist: art theorist = poet -not interpretative, based on data -organic model solves re-creative/forgery |
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Pliny the Elder
Natural History |
ART IS A SUBSET OF A LARGER HUMAN HISTORY (79)
-mythological: painting begins w/ shadow -qualitative |
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Riegl, Alois
Late Roman Art Industry |
ART HAS A DEFINITE AND PURPOSEFUL KUNTSWOLLEN ACROSS MEDIUM THAT WORK IN A PROGRESSION (1901)
-rejects idea of decay (art precedes art) -no hierarchies across medium -art is result of material & kuntswollen |
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Schapiro, Meyer
Style |
STYLE IS SYMPOTMATIC OF THEIR TIME AND HAS NO HIERARCHIES (1953)
-style: for AH, investigate distinct quality -style point to a specific spatio-temporal -style is means to cultural info, not end -To ID art, Form motive/relat., quality |
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Vasari, Giorgio
The Lives of the Artists |
CONSTRUCTS INDIVIDUAL GENIUS BY INSISTING ON INDIVIDUAL IDENTITIES OF THE ARTISTS (1568)
-organization by style -individual IDs = exp of creating arts |
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Warburg, Aby
Images from the Regions of the Pueblo Indians |
EVOLUTIONARY STAGE OF SPIRIT IS STAGGERED ACROSS SPATIO-TEMPORAL; CAN VIEW PAST IN THE PRESENT TIME (1923)
-universal symbols indicate univ. of spirit |
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White, Hayden
The Historical Text as Literary Artifact |
RE-PLOT UNFAMILIAR POINTS INTO FAMILIAR NARRATIVES/SCHEMA (1978)
-metahistory: answer Q w/o using history -cannot craft theme; fact = story element -history = psychoanalysis/expectations -align history to contemp to better under. |
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Winckelmann
History of Ancient Art |
PROMOTE SCHOLARLY ATTENTION TO ART, WITH GREEK ANTIQUITY AS THE PLATONIC IDEAL (1764)
-history ≠ epoch or individual artists -rise & fall: Neces, pursuit, superfluous -no scholarship b/c read, not invest; no concept of beauty (undiscovered truth) |
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Winckelmann
Reflections on the Imitation of Greek Works in painting and Sculpture |
”GOOD TASTE WAS BORN IN GREECE” (1755)
-should imitate ancients to produce art -emotive/parenthyrsos: downfall of cont. -moderns are better at painting |
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Wolfflin
The Principles of Art History |
FORMAL ANALYSIS & COMPARISONS TO GIVE MEANING TO STYLISTIC DIFFERENCES (1915)
-style deriv. b/c no objective vision -zeitgeist -painterly percep = psych, -decorative feeling necessary change style |
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Biological (Organic) Model of Art
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(Vasari) Art is born, grow up, grow old, die
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Cosmos of Culture
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(Panofsky) Organization of historical fact into cultural fabric; spatio-temporal structure in relation to each other (primitive ≠ contemporary of Michelangelo)
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Organic situation
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(Panofsky) Solves deadlock/paradox; history & doc make a whole b/c new info fits or creates new theories; solves forgeries as well as intuitive recreation of the artwork upon observation
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Heterotopia
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(Foucault) Breakdown of language (opposite of utopia)
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Codes of Culture
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(Foucalt) Establish the order of things w/in a culture; Language, schemas, values (its opp=sci law)
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Art Morphology
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(Morelli) Understanding the outward forms in a work of art
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Author Function
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(Foucault) What an author demarcates, like using “I”, & 2 other things (???????)
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Founders of Discursivity
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(Foucault) Marx & Freud initiated ideas that continue with same validity in later times; unanswered
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Optical refinement
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(Panofsky) Correct the visual impression
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Epistemology
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(Foucault) The study of how we know what we know
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Vast Spiritual Map
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(Burckhardt) Projection of ethnography that embraces both material and spiritual world
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Exegetic Method
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(Gombrich) Bases interpretation of the detection of likeness (that doesn’t conform to Hegel’s Spirit)
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Supra-Individual Collective
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(Gombrich) Term for Hegelian idea; claims that it blocks the possibility of real cultural histories
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Free Concrete Spirituality
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(Hegel) Romantic art reaches concrete spiritually free of sensuous form (for the most part)
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Decorative Feeling
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(Wolfflin) Dictates style; changes in decorative feeling change mode of representation
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Parenthyrsos
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(Winckelmann) Exaggerated, out of place pathos
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Conjectural Paradigm
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(Ginzburg)
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