Custom Search. It is important to remember, though, that the pairs of categories he proposes are comparative, not absolute. The division into categories is only for the purposes of analysis. Linear and Painterly.
|Published (Last):||7 November 2010|
|PDF File Size:||7.68 Mb|
|ePub File Size:||8.49 Mb|
|Price:||Free* [*Free Regsitration Required]|
Albrecht Durer. Kay Nielsen. Wassily Kandinsky. Egon Schiele. Utagawa Kuniyoshi. Pablo Picasso. Johann Wolfgang von Goethe. Gertrude Stein. Francisco Jose De Goya. Home Contact us Help Free delivery worldwide. Free delivery worldwide. Bestselling Series. Harry Potter. Popular Features. Home Learning. Categories: Art History Photography. Description What are the fundamental differences between classic and baroque art? Is there a pattern underlying the seemingly helter-skelter development of art in different cultures and at different times?
What causes our entirely different reactions to precisely the same painting or to the same painter? Examining such factors as style, quality, and mode of representation in terms of five opposed dynamisms the linear vs. Whether you teach art, study it, or want to understand it purely for your own enjoyment, this epoch-making study will certainly increase your comprehension of and pleasure in the world's art heritage.
Other books in this series. Add to basket. Semaine de Bonte Max Ernst. Portrait Drawings John Singer Sargent. Point and Line to Plane Wassily Kandinsky. Schiele Drawings Egon Schiele. Theory of Colours Johann Wolfgang von Goethe. Picasso Gertrude Stein. Back cover copy What are the fundamental differences between classic and baroque art? Rating details. Book ratings by Goodreads. Goodreads is the world's largest site for readers with over 50 million reviews.
We're featuring millions of their reader ratings on our book pages to help you find your new favourite book. Close X. Learn about new offers and get more deals by joining our newsletter. Sign up now. Follow us. Coronavirus delivery updates.
Principles of Art History
He taught at Basel, Berlin and Munich in the generation that raised German art history to pre-eminence. He received his degree from Munich University in in philosophy, although he was already on a course to study the newly minted discipline of art history. It is considered now to be one of the founding texts of the emerging discipline of art history, although it was barely noted when it was published. He is credited with having introduced the teaching method of using twin parallel projectors in the delivery of art history lectures, so that images could be compared when magic lanterns became less dangerous.
Principles of Art History : The Problem of the Development of Style in Later Art
There are a range of other foundational documents of the discipline that have yet to receive even a first hearing. Moreover, the M. I gather, too, that readers of the new hundredth-anniversary edition are hardly gravitating to the famous descriptive categories of the Linear and the Painterly; Plane and Recession; Closed Form and Open Form; Multiplicity and Unity; and Clearness and Unclearness. So what is it that still draws readers to this text one hundred years later? Not everything is possible at all times.