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Description: The Critical Historians of Art
Table of Contents
PublisherYale University Press
https://doi.org/10.37862/aaeportal.00131.002
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Contents
PART ONE
i. The Retrieval of the Past
ii. Composition and Composure
iii. Kant
iv. Schiller
i. A Prelude to the Aesthetics
ii. The Historical Stages of Art
iii. The Recovery of Past Art for the Philosophy of the Present
iv. Rumohr’s Response to Hegel
i. The Synoptic View
ii. The Continuous Transformation of Art
iii. The Disregard of Function
iv. Art as Culturally Autonomous: A Response to Hegel
v. The Convergence of Critical Examples
i. Visual Meaning
ii. Fiction and Function
iii. Historical Continuity
iv. The Motif Theory of Style and the Motivation of Change
PART TWO
i. Interpretative Vision
ii. The Problem of Painting
iii. The Self-Transformation of Art
iv. The Changed Relation to the Past
i. Relief Sculpture
ii. Architecture in Late Antiquity
iii. The Dutch Group Portrait
iv. Senses of Artistic Intention
i. Renaissance and Baroque
ii. The Teleology of the Triumphal Arch
iii. Wölfflin, Burckhardt and the High Renaissance
i. The Descriptive Scheme
ii. The Separation of Visual Tradition
iii. The Transformation of Art Through History
iv. The Cyclic Theory and the Generalisation Across the Visual Arts
v. Criticisms of Wölfflin’s Treatment of Architecture: Schmarsow and Frankl
vi. Conclusion
i. Springer’s Rejection of Hegel
ii. Springer’s Alternative Aesthetics
iii. Warburg and Botticelli’s Mythologies
iv. The Milieu of Merchants and the Sassetti Chapel
v. Art and Superstition
vi. The Role of Classical Art
vii. Warburg and Pictorial Behaviour
i. The Systematic Strategy
ii. The Adaptive Strategy
iii. The Perspective Paper
iv. The Theory of Human Proportions
v. The Relation of Images and Concepts
i. The Problems of Systematic Interpretation
ii. The Separation of Functions and Features
iii. On the Multiplicity of Viewpoints
iv. The Retrieval of the Past
v. The Mind’s Autonomy
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