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Historical grammar of the visual arts / Alois Riegl ; translated by Jacqueline E. Jung ; foreword by Benjamin Binstock.
- Format:
- Book
- Author/Creator:
- Riegl, Alois, 1858-1905.
- Standardized Title:
- Historische Grammatik der bildenden Künste. English
- Language:
- English
- German
- Subjects (All):
- Art--History.
- Art.
- History.
- Art--Philosophy.
- Physical Description:
- 495 pages : illustrations ; 24 cm
- Place of Publication:
- New York : Zone Books, 2004.
- Summary:
- 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.
- Contents:
- Foreword: Alois Riegl, Monumental Ruin: Why We Still Need to Read Historical Grammar of the Visual Arts / Benjamin Binstock 11
- Translator's Preface: Ubersetzungsfragen: Form, Communication, and Questions of Translating Riegl / Jacqueline E. Jung 37
- First Version: Book Manuscript of 1897-1898
- Part 1 Worldview 55
- I First Period: Art as Improvement of Nature Through Physical Beauty 57
- Growth 60
- Summit 60
- Decline 61
- II Second Period: Art as Improvement of Nature Through Spiritual Beauty 67
- Further Developments of Art That Improves Physical Nature 69
- Byzantine Art 69
- Art of Islam 72
- The Actual Course of the Second Period in the West 74
- Italy 79
- The Growth of Nature-Spiritualizing Art in Italy 79
- The Summit of Nature-Spiritualizing Art in Fourteenth-Century Italy 81
- The Decline of Nature-Spiritualizing Art in the Renaissance 82
- Germanic Peoples 84
- The Growth of Nature-Spiritualizing Art Among Germanic Peoples 84
- The First Impact of Late Roman (and Byzantine) Art on Germanic Peoples 87
- Carolingian and Ottonian Art 90
- The Phase of Romanesque Art 91
- The Summit of Germanic Christian Art in the Thirteenth and Fourteenth Centuries 92
- The Decline of Germanic Christian Art 93
- III Third Period: Art as Reproduction of Transitory Nature 95
- Part 2 Elements of the Work of Art 107
- Period 1 Art Perfects Nature 111
- Ancient Egyptian Art 111
- Greek Art Before Alexander the Great 111
- Antiquity from Alexander to Constantine the Great 112
- Period 2 Art Spiritualizes Nature 112
- Period 3 Art Competes with Nature for Its Own Sake 114
- V Motifs 123
- The Nature-Beautifying Period 140
- Ancient Egyptian Art 140
- Greek Art Before Alexander the Great 144
- Antiquity After Alexander the Great 147
- The Nature-Spiritualizing Period 149
- Art in Italy 153
- The Early Christian Period 153
- The Giottesque Phase 157
- The Renaissance 158
- Germanic Christian Art 161
- The Period of Growth to the Twelfth Century 161
- Early Origins from 476 to 768 C.E. 161
- Carolingian-Ottonian Period 162
- Romanesque Period 162
- The Summit of Germanic Christian Art 163
- The Decline of Germanic Christian Art 164
- The Period Since 1520 167
- Italy 167
- People of Germanic Roots 172
- VI Form and Surface 187
- Period 1 Nature-Improving Art 192
- Egypt 192
- Greek Art Before Alexander the Great 203
- Organic Motifs 204
- Inorganic Motifs 211
- Antiquity After Alexander the Great 215
- Linear Perspective 216
- Light and Shadow 220
- Aerial Perspective 223
- Period 2 Nature-Spiritualizing Art 241
- The Revolution of Late Roman Art 241
- Organic Motifs 241
- Inorganic Motifs 246
- Byzantine Art 252
- Islamic Art 255
- Italian Art 258
- Romanesque Phase 260
- Giottesque Art 262
- The Renaissance 263
- Draft of the Missing Conclusion 269
- Gothic 274
- Italian Renaissance Architecture 278
- Baroque Architecture 280
- Second Version: Lecture Notes of 1899
- Part 1 Worldview 303
- I First Period: Antique Anthropomorphic Polytheism to the Third Century C.E. 307
- Ancient Near Eastern Polytheism 308
- Classical Polytheism to the Hellenistic Age 314
- The Hellenistic Age 320
- II Second Period: Christian Monotheism, 313-1520 323
- The Eastern Roman Christian Worldview 327
- The Western Roman Christian Worldview and Its Relation to Art 330
- III Third Period: Natural-Scientific Worldview 337
- Part 2 Elements 341
- IV Motifs and Purposes 343
- Motifs in Antiquity Under the Polytheistic Worldview 355
- Ancient Near Eastern Art 356
- The Summit of Antique Art with the Greeks 371
- Early Greek Art 372
- Classical Art 374
- Late Antique Art 380
- Late Roman Art 390
- V Form and Surface 395
- Origins 401
- Statuary 404
- Relief 411
- Two-Dimensional Art (Painting, Drawing, Inlay Work) 413
- Architecture 414
- Form and Surface Among the Greeks 416
- Mycenaean Art 416
- The Vapheio Cups 420
- The Dipylon Vases 422
- The Classical Age 425
- Hellenistic Art 427
- Late Roman Art 431.
- Notes:
- Includes bibliographical references (pages 435-444) and index.
- ISBN:
- 1890951455
- OCLC:
- 52381277
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