Framing Formalism PDF Download

Author: Richard Woodfield
Publisher: Taylor & Francis
ISBN: 9789057013126
Category : Art
Languages : en
Pages : 332

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Book Description
First Published in 2001. Routledge is an imprint of Taylor & Francis, an informa company.

Author: Richard Woodfield
Publisher: Routledge
ISBN: 1134395949
Category : Art
Languages : en
Pages : 329

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Book Description
Alois Riegl (1858-1905) was one of the founding fathers of modern formalist criticism. As a member of the Vienna School of Art Historians, he shared their range of interests in the decorative arts, art in transition, conservation and monuments. This collection of critical essays examines various facets of Riegl's work and opens with a new translation of Hans Sedlmayr's famous, and notorious,Die Quintessenze der Lehren Riegls. Included is Julius von Schlosser's assessment of Riegl's contribution to the Vienna School of Art Historians as well as essays by a team of international scholars. This book offers a re-engagement with the ideas of one of the most important and neglected art historians of the 20th century.

Author: Alois Riegl
Publisher: Getty Publications
ISBN: 1606060414
Category : Architecture
Languages : en
Pages : 294

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Book Description
Delivered at the turn of the twentieth century, Riegl's groundbreaking lectures called for the Baroque period to be judged by its own rules and not merely as a period of decline.

Author: Gerard Guthrie
Publisher: Routledge
ISBN: 1351130439
Category : Education
Languages : en
Pages : 248

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Book Description
Progressive Education, derived mainly from Anglo-American culture, has been the primary frame of reference for student-centered classroom change in developing countries for over 50 years. Yet in many developing countries, strong evidence shows that progressivism has not replaced teacher-centered formalistic classroom practice. Classroom Change in Developing Countries: From Progressive Cage to Formalistic Frame presents a robust case for why formalism should be the primary frame of reference for upgrading classroom teaching in developing countries. Theoretically rich yet grounded in practice, the book draws on case studies from Africa, China and Papua New Guinea to show how culturally intuitive formalistic teaching styles can induce positive classroom change. Synthesising research and evaluation literature on classroom change in developing countries, Guthrie examines some of the methodological flaws in the literature. The book considers the progressive cage, and looks at Confucian influences on teaching in China, progressive reform failures in both Sub-Saharan Africa and Papua New Guinea, as well as offering a critical take on some failings in comparative education. It examines the formalistic frame, addresses methodological issues in culturally grounded research and offers a model of teaching styles for basic classroom research. The book concludes by returning the focus back to teachers and considers the so-called teacher resistance to change. The book will be an essential purchase for academics and research students engaged in the fields of classroom teaching, teacher education and curriculum and will also be of interest to academics, aid officials, and decision-makers in developing countries.

Author: Evonne Levy
Publisher: Schwabe Verlag (Basel)
ISBN: 3796533973
Category : History
Languages : en
Pages : 406

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Book Description
This study in intellectual history places the art historical concept of the Baroque amidst world events, political thought, and the political views of art historians themselves. Exploring the political biographies and writings on the Baroque (primarily its architecture) of five prominent Germanophone figures, Levy gives a face to art history, showing its concepts arising in the world. From Jacob Burckhardt's still debated "Jesuit style" to Hans Sedlmayr's Reichsstil, the Baroque concepts of these German, Swiss and Austrian art historians, all politically conservative, and two of whom joined the Nazi party, were all took shape in reaction to immediate social and political circumstances. A central argument of the book is that basic terms of architectural history drew from a long established language of political thought. This vocabulary, applied in the formalisms of Wölfflin and Gurlitt, has endured as art history's unacknowledged political substrate for generations. Classic works, like Wölfflin's Kunstgeschichtliche Grundbegriffe are interpreted anew here, supported by new documents from the papers of each figure.

Author: Conrad Rudolph
Publisher: John Wiley & Sons
ISBN: 1444357220
Category : Art
Languages : en
Pages : 624

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Book Description
A Companion to Medieval Art brings together cutting-edge scholarship devoted to the Romanesque and Gothic traditions in Northern Europe. Brings together cutting-edge scholarship devoted to the Romanesque and Gothic traditions in Northern Europe. Contains over 30 original theoretical, historical, and historiographic essays by renowned and emergent scholars. Covers the vibrancy of medieval art from both thematic and sub-disciplinary perspectives. Features an international and ambitious range - from reception, Gregory the Great, collecting, and pilgrimage art, to gender, patronage, the marginal, spolia, and manuscript illumination.

Author: Adi Efal
Publisher: Bloomsbury Publishing
ISBN: 1474254020
Category : Philosophy
Languages : en
Pages : 220

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Book Description
Though inspired by a Panofskyan legacy, this book diverges at certain points from Erwin Panofsky's declared objectives, and calls attention to several of aspects that were until now less accentuated in his intellectual reception. Insisting on the importance of iconology as a method for art history and the humanities in general, it shows how examining this promotes a cooperation between the history of art and the history of philosophy. It discusses whether Panofsky's method could be of use for general questions in the epistemology of the historical sciences that examine human works. Figural Philology also shows that Panofsky shares affinities with twentieth-century romance philology. A reading of Panofsky's work alongside the philological enterprise of Erich Auerbach and several other authors demonstrates that a proper appropriation of the philological impulse can provide a way out of the methodological antimony still hanging between hyper-formalist and hyper-theoretical approaches to the history of art.

Author: Alex Purves
Publisher: Routledge
ISBN: 1317516664
Category : History
Languages : en
Pages : 474

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Book Description
Unlike the other senses, touch ranges beyond a single sense organ, encompassing not only the skin but also the interior of the body. It mediates almost every aspect of interpersonal relations in antiquity, from the everyday to the erotic, just as it also provides a primary point of contact between the individual and the outside world. The essays in this volume explore the ways in which touch plays a defining role in science, art, philosophy, and medicine, and shapes our understanding of topics ranging from aesthetics and poetics to various religious and ritual practices. Whether we locate the sense of touch on the surface of the skin, within the body or – less tangibly still – within the emotions, the sensory impact of touching raises a broad range of interpretive and phenomenological questions. This is the first volume of its kind to explore the sense of touch in antiquity, bringing a variety of disciplinary approaches to bear on the sense that is usually disregarded as the most base and obvious of the five. In these pages, by contrast, we find in touch a complex and fascinating indicator of the body’s relation to object, environment, and self.

Author: Dr Hans Rudolf Morgenthaler
Publisher: Ashgate Publishing, Ltd.
ISBN: 1472453018
Category : Architecture
Languages : en
Pages : 169

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Book Description
Using empathy, as established by the Vienna School of Art History, complemented by insights on how the mind processes visual stimuli, as demonstrated by late 19th-century psychologists and art theorists, this book puts forward an innovative interpretative method of decoding the forms and spaces of Modern buildings. It proposes that Modern architecture is too diverse to be reduced to a few common formal or ornamental features. Instead, by relying on the viewer’s innate psycho-physiological perceptive abilities, the sensual and intuitive understandings of composition, form, and space are emphasized.

Author: Benjamin Binstock
Publisher: Routledge
ISBN: 1136087060
Category : Art
Languages : en
Pages : 459

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Book Description
Johannes Vermeer, one of the greatest Dutch painters and for some the single greatest painter of all, produced a remarkably small corpus of work. In Vermeer's Family Secrets, Benjamin Binstock revolutionizes how we think about Vermeer's work and life. Vermeer, The Sphinx of Delft, is famously a mystery in art: despite the common claim that little is known of his biography, there is actually an abundance of fascinating information about Vermeer’s life that Binstock brings to bear on Vermeer’s art for the first time; he also offers new interpretations of several key documents pertaining to Vermeer that have been misunderstood. Lavishly illustrated with more than 180 black and white images and more than sixty color plates, the book also includes a remarkable color two-page spread that presents the entirety of Vermeer's oeuvre arranged in chronological order in 1/20 scale, demonstrating his gradual formal and conceptual development. No book on Vermeer has ever done this kind of visual comparison of his complete output. Like Poe's purloined letter, Vermeer's secrets are sometimes out in the open where everyone can see them. Benjamin Binstock shows us where to look. Piecing together evidence, the tools of art history, and his own intuitive skills, he gives us for the first time a history of Vermeer's work in light of Vermeer's life. On almost every page of Vermeer's Family Secrets, there is a perception or an adjustment that rethinks what we know about Vermeer, his oeuvre, Dutch painting, and Western Art. Perhaps the most arresting revelation of Vermeer's Family Secrets is the final one: in response to inconsistencies in technique, materials, and artistic level, Binstock posits that several of the paintings accepted as canonical works by Vermeer, are in fact not by Vermeer at all but by his eldest daughter, Maria. How he argues this is one of the book's many pleasures.