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Art History: The Key Concepts - download pdf or read online

By Jonathan Harris

Art background: the main Concepts is a scientific, trustworthy and obtainable reference consultant to the disciplines of artwork background and visible tradition. Containing entries on over 2 hundred phrases necessary to the ancient and theoretical examine of paintings, layout and tradition mostly, it's an vital resource of information for all scholars, students and academics.

Covering the advance, current prestige and destiny course of artwork heritage, entries span a wide selection of phrases and ideas akin to summary expressionism, epoch, hybridity, semiology and zeitgeist.

Key beneficial properties include:

  • a effortless A-Z format
  • fully cross-referenced entries
  • suggestions for extra reading.

Engaging and insightful, in addition to effortless to keep on with and use, Art historical past: the most important Concepts builds a thorough highbrow synthesis for knowing and instructing artwork, paintings heritage and visible tradition.

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Extra resources for Art History: The Key Concepts

Sample text

Rauschenberg’s picture seems intentionally flat and inexpressive, a rather listless compendium of sources. Conventional notions of influence and tradition, in contrast, tend to carry with them the sense that the latest artist to make use of a source somehow manages to make it uniquely his or her own, as part of the evolution of an invigorating original visual style. This is the way that the mature Raphael, for example, is always claimed to have adapted or ‘been influenced by’ the paintings of his teacher Perugino.

In Leon Baptista Alberti’s Della Pittura [On Painting] (1435)) was used to indicate that a theoretical understanding preceded and guided the practice of the activity, in accordance with established, though evolving, rules and precepts. These ‘liberal 20 ART arts’, then, were separated from, and elevated in status above, other activities seen as essentially practical – such as stone-masonry or stained-glass work – which later became understood as crafts, and the work, not of especially creative artists such as Leonardo da Vinci, Raphael, or Michelangelo, but rather of (certainly skilled) artisans or craftspeople whose individual names and lives were not regarded as crucial in accounts of the value of their work.

However, definitions of the process and activities involved in, and claimed to be relevant to, the production of artworks, are complex and sometimes disputed. More traditional^ art historians and critics might argue that this is simply a matter of the artist’s use of certain physical materials, techniques, and compositional formats: the choice and application of, for example, oil paint using sable brushes on a primed and stretched canvas surface. In a landscape painting the artist would decide on a scene or motif, perhaps make preparatory pencil sketches, and finally complete the full-scale work of art in the 31 AUTHOR studio, painting over a lightly drawn outline of the projected scene.

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