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About Michael Baxandall
A distinguished group of art historians reflect on the work of Michael Baxandall, in terms of its importance for their own formation, its location in the development of a new art history, and its influence on the broader languages and theories of contemporary cultural theory.
The Architecture of Art History
What is the place of architecture in the history of art? Why has it been at times central to the discipline, and at other times seemingly so marginal? What is its place now? Many disciplines have a stake in the history of architecture – sociology, anthropology, human geography, to name a few. This book deals with perhaps the most influential tradition of all – art history – examining how the relation between the disciplines of art history and architectural history has waxed and waned over the last one hundred and fifty years. In this highly original study, Mark Crinson and Richard J. Williams point to a decline in the importance attributed to the role of architecture in art history ove...
Words for Pictures
He offers seven thought-provoking pieces, three of which are new and written specifically for this book. While Baxandall focuses on works of the fifteenth century, his essays transcend this period and show with fresh insight how words match the experience of looking at paintings and sculptures."--BOOK JACKET.
The Language of Art History
The first volume in the series Cambridge Studies in Philosophy and the Arts offers a range of responses by distinguished philosophers and art historians to some crucial issues generated by the relationship between the art object and language in art history. Each of the chapters in this volume is a searching response to theoretical and practical questions in terms accessible to readers of all human science disciplines. The editors, one a philosopher and one an art historian, provide an introductory chapter which outlines the themes of the volume and explicates the terms in which they are discussed. The contributors open new avenues of enquiry involving concepts of 'presence', 'projective properties', visual conventions and syntax, and the appropriateness of figurative language in accounting for visual art. The issues they discuss will challenge the boundaries to thought that some contemporary theorising sustains.
The Visual Culture of Baptism in the Middle Ages
Under the guidance of the leading experts on baptismal fonts and the co-directors of the Baptisteria Sacra Index, the world?s only iconographical inventory of baptismal fonts, a research project at the University of Toronto, this collection of essays by a group of European and North American scholars extends the traditional boundaries associated with the study of baptismal fonts. The ?visual? is privileged, whether it is in the metaphysical, literary or empirical realms of scholarship, offering a rich understanding of the powerful role of baptism played in medieval and renaissance society. In the quest for a holistic understanding of the vessels, the settings and contexts, the rituals and th...
Conceptual Art After Modernism
This study provides a new interpretation of art after modernism by foregrounding the importance of conceptual thinking as a pervasive force for change in art and art history since 1950. Robert Bailey shows how distinctions between art and art history gave way as conceptual thinking provided artists and art historians with a common means to reassess what art could be and do in the world. Bailey assesses the results of artful and scholarly inquiries combining creative activity with intellectual rigor to proffer new approaches to a variety of social and environmental concerns, ranging from questions about human identity—including race, class, gender, and sexuality—to activist efforts to redress everything from abortion access to migrants’ rights, to climate change. This book provides both a historical overview of these developments and close analyses of key works and texts, spanning 1950 to the present and encompassing broad geographic scope with special attention paid to Indigenous art. The book will be of interest to scholars working in art history and contemporary art.
The Invention of Robert Bresson
Challenging the prevailing notion among cinephiles that the auteur is an isolated genius interested primarily in individualism, Colin Burnett positions Robert Bresson as one whose life's work confronts the cultural forces that helped shape it. Regarded as one of film history's most elusive figures, Bresson (1901–1999) carried himself as an auteur long before cultural magazines, like the famed Cahiers du cinéma, advanced the term to describe such directors as Jacques Tati, Alfred Hitchcock, and Jean-Luc Godard. In this groundbreaking study, Burnett combines biography with cultural history to uncover the roots of the auteur in the alternative cultural marketplace of midcentury France.
Fifty Key Texts in Art History
Fifty Key Texts in Art History is an anthology of critical commentaries selected from the classical period to the late modern. It explores some of the central and emerging themes, issues and debates within Art History as an increasingly expansive and globalised discipline. It features an international range of contributors , including art historians, artists, curators and gallerists. Arranged chronologically, each entry includes a bibliography for further reading and a key word index for easy reference. Text selections range across issues including artistic value, cultural identity, modernism, gender, psychoanalysis, photographic theory, poststructuralism and postcolonialism. Rozsika Parker and Griselda Pollock Old Mistresses, Women, Art & Ideology (1981) Victor Burgin’s The End of Art Theory: Criticism and Postmodernity (1986) Homi Bhabha The Location of Culture: Hybridity, Liminal Spaces and Borders (1994) Geeta Kapur When was Modernism in Indian Art? (1995) Judith Butler's Gender Trouble (1999) Georges Didi Huberman Confronting Images. Questioning the Ends of a Certain History of Art (2004)
"Michael Baxandall, Vision and the Work of Words "
'The most important art historian of his generation? is how some scholars have described the late Michael Baxandall (1933-2007), Professor of the Classical Tradition at the Warburg Institute, University of London, and of the History of Art at the University of California, Berkeley. Baxandall?s work had a transformative effect on the study of European Renaissance and eighteenth-century art, and contributed to a complex transition in the aims and methods of art history in general during the 1970s, ?80s and ?90s. While influential, he was also an especially subtle and independent thinker - occasionally a controversial one - and many of the implications of his work have yet to be fully understood and assimilated. This collection of 10 essays endeavors to assess the nature of Baxandall?s achievement, and in particular to address the issue of the challenges it offers to the practice of art history today. This volume provides the most comprehensive assessment of Baxandall?s work to date, while drawing upon the archive of Baxandall papers recently deposited at the Cambridge University Library and the Warburg Institute.
