The Map of Art History Uses Order and Classification by Listing of Fields, Library System, and Plotting in Space and Time

1052 Words3 Pages

The Map of Art History essay is about how art history uses disciplines in societies to represents itself through order and classification. From many observations and theories it considers three subject: first is the listing of fields in art history, second is the library system is for categorizing art books, and third is the plotting of space and time in art history from survey texts. Also in the discussion the writer talks about the geography of art history such as where does the idea appear from? Other questions he asked was how and why do disciplinary classifications aspire are global remain local? What are the consequences of our continued use of mappings that have their beginnings and backgrounds in geopolitical spaces that no longer exist? The discipline in art history is a requirement that’s needed to be accorded to abilities and power to control or judge the borders that can be accepted or decline people and objects to teach for transmitting values to peers. Are examples the author uses for the understanding of discipline in art history is that structures are seldom to less studies and relation to present views, such as students who attend and introductory class are to read a survey book, or follow recommendation of curriculums whenever a colleague retires. Other examples he show are a chair that justifies and the dean endorses a replacement postion then the recent Ph.D. is to be hired, whenever the discipline or subfield. The disciplinary in art history is the gaze upon an issue and the issue. During the essay he will deliberately avoid most public and visual manifestation which was the museum, according to Robert Nelson (The Map of Art History, 28). Starting with the first domain which is the grid of fields. Fields a... ... middle of paper ... ...critics eyes as it looks at a piece of work and where the eyes follow. Also that the space and time for the LC system, the function is only a basic framework and the division of visual arts are a medium in fundamental antiquarian. Robert’s defense is Arnaldo Momigliano perspective upon early-modern antiquarian to modern historian which is most historian would write in chorological order while antiquaries write in a systematic way. The other perspective is Historian find facts to discover and explanation in multiple ways and an antiquarian examines a research relations connected to the exact subject (The Map of Art History, 32). Overall Robert’s essay was really persuasive to me and it provide enough strong evidence where it convince me to agree with the idea of having art history and disciplines also societies to represents itself through order and classification.

Show More
Related

  • Wayne White's 'Golden Surf Rossi: The Seventies'

    783 Words  | 2 Pages

    In the Florence and the early renaissance, we have the greatest master of art like Leonardo da Vinci, Michelangelo, Sandro Botticelli and others. In this period of time the painters almost never show their emotions or feelings, they were more focused on indulging the churches and the wealthy people. In The renaissance period the art provides the work of art with ideal, intangible qualities, giving it a beauty and significance greater and more permanent than that actually found in the modern art. Florence and the early renaissance, the art become very valued where every artist was trying to create art forms consistent with the appearance of the beauty or elegance in a natural perspective. However, Renaissance art seems to focus more on the human as an individual, while Wayne White art takes a broader picture with no humans whatsoever; Wayne, modern three dimensional arts often utilizes a style of painting more abstract than Renaissance art. At this point in the semester these two aspects of abstract painting and the early renaissance artwork have significant roles in the paintings. Wayne White brings unrealistic concepts that provoke a new theme of art, but nevertheless the artistic creations of the piece of art during early renaissance still represent the highest of attainment in the history of

    Read More

  • How Rococo and Neoclassicism Illustrate the Process of Deciding in their Paintings

    1418 Words  | 3 Pages

    By paying attention to elements such as subject matter, light, form, and placement of figures, we can see how these enhance the ideals depicted by each form of art. As a result, we can understand how Neo-Classical art is an attempt to counter the values of Rococo. Rococo is a form of art directly targeted to the privileged. Because not everyone in society belongs to the aristocracy, the Neo-Classicist wanted to impose order as an alternative to the frivolous life style. As a result, we have to works of art that challenge each other’s ideals. The theme of infidelity versus loyalty and how one arrives at the decision made is animated in the works of Fragonard and David. However, it is important to note that there is no right or wrong form of art, although it may seem that this was the common perception of the time. In conclusion, both works of are similar in one important aspect; they are both works of art.

    Read More

  • Art History

    1151 Words  | 3 Pages

    Crooked Beak of Heaven Mask is a big bird-figure mask from late nineteenth century made by Kwakwaka’wakw tribe. Black is a broad color over the entire mask. Red and white are used partially around its eyes, mouth, nose, and beak. Its beak and mouth are made to be opened, and this leads us to the important fact in both formal analysis and historical or cultural understanding: Transformation theme. Keeping that in mind, I would like to state formal analysis that I concluded from the artwork itself without connecting to cultural background. Then I would go further analysis relating artistic features to social, historical, and cultural background and figure out what this art meant to those people.

    Read More

  • Griselda Pollock: Article Analysis

    985 Words  | 2 Pages

    Pollock (1980) begins her article by drawing in her audience in; asking how is it possible that art history does not incorporate any other field beyond the artist in order to explain the meaning behind their work. She then explains that her article is mainly about how she rejects how art historians are depicting artworks and restricting themselves in explaining the work solely based on the biography of the artist who created it. (Pollock, 1980, pg.58)

    Read More

  • Renaissance Art Categories

    629 Words  | 2 Pages

    Stokstad, M., Michael, W. and Asher, M. F. (2010). Art History, Volume 1. California: Prentice

    Read More

  • Comparing John Constable's Painting The Cornfield and William Wordsworth's Poem Tintern Abbey

    1607 Words  | 4 Pages

    Goldwater, Robert and Marco Treves (eds.). Artists on Art: from the XIV to the XX Century. New York: Pantheon Books, 1945.

    Read More

  • Biography Of Pensacola Christian College 's Definition Of Art

    1108 Words  | 3 Pages

    My goal for this paper is to give a practical critique and defense of what I have learned in my time as a Studio Art Major. During my time here I have learned that Pensacola Christian college’s definition of art “art is the organized visual expression of ideas or feelings” and the four parts of Biblosophy: cannon, communication, client, and creativity. Along with Biblosophy I have studied Dr. Frances Schaeffer 's criteria for art, seeing how the technical, and the major and minor messages in artwork. All of these principles are great but they do need to be refined.

    Read More

  • Conditions of Trade, by Michael Baxandall

    1048 Words  | 3 Pages

    In the article “Conditions of Trade,” Michael Baxandall explains the interaction serving of both fifteenth- century Italian painting and text on how the interpretation of social history from the style of pictures in a historical period, pre-eminently examine the early Renaissance painting. Baxandall looks not only on the explanation of how the style of painting is reflected in a society, but also engages in the visual skills and habits that develop out of daily life. The author examines the central focus on markets, material visual practices, and the concept of the Renaissance period overlooking art as an institution. He observes a Renaissance painting, which relate the experience of activities such as preaching, dancing, and assessing. The author considers discussions of a wide variety of artistic painters, for instance, Filippo Lippi, Fra Angelico, Stefano di Giovanni, Sandro Botticelli, Luca Signorelli, and numerous others. He defines and exemplifies concepts used in contemporary critic of the painting, and in the assembled basic equipment needed to discover the fifteenth- century art. Therefore this introductory to the fifteenth- century Italian painting and arise behind the social history, argues that the two are interconnected and that the conditions of the time helped shape the distinctive elements in the artists painting style. Through the institutional authorization Baxandall looks at integration in social, cultural and visual evaluation in a way that shows not only the visual art in social construction, but how it plays a major role in social orders in many ways, from interaction to larger social structural orders.

    Read More

  • Artistic comparison

    1410 Words  | 3 Pages

    “Philosophers, writers, and artists expressed disillusionment with the rational-humanist tradition of the Enlightenment. They no longer shared the Enlightenment's confidence in either reason's capabilities or human goodness.” (Perry, pg. 457) It is interesting to follow art through history and see how the general mood of society changed with various aspects of history, and how events have a strong connection to the art of the corresponding time.

    Read More

  • Rasheed Araeen: New Internationalism

    744 Words  | 2 Pages

    The questionable influence and dominance of western culture is at the forefront of a new form of seemingly ephemeral diplomatic history that is termed ‘new internationalism’. Internationalism itself is not really a new concept, and is basically a system based on equality for all people and cultures on a global scale. In the global art world ‘new internationalism’ is an active topic and was the focus of a 1994 INIVA Symposium entitled, A New International Symposium. The topics discussed included: Recording the International; Art, History and the Modern Museum; Beyond Diversity and Difference; Curatorship and International Exhibitions.1 During his lecture at the symposium, sculptor, essayist and poet Jimmie Durham puts forth the idea that, “…Europeans seem to think that, as art is their invention, effective art is within a developed vocabulary and accent…”2 This kind of statement emphasizes the enormous task of disuniting ‘actual’ art history from that recorded under the influence of western culture, and it demonstrates the long-standing influence of imperial thinking.

    Read More

  • Confronting Images

    1639 Words  | 4 Pages

    Georges Didi-Huberman is critical of the conventional approaches towards the study of art history. Didi-Huberman takes the view that art history is grounded in the primacy of knowledge, particularly in the vein of Kant, or what he calls a ‘spontaneous philosophy’. While art historians claim to be looking at images across the sweep of time, what they actually do might be described as a sort of forensics process, one in which they analyze, decode and deconstruct works of art in attempt to better understand the artist and purpose or expression. This paper will examine Didi-Huberman’s key claims in his book Confronting Images and apply his methodology to a still life painting by Juan Sánchez Cotán.

    Read More

  • Deconstructing the Map: The JB Harley Theory

    801 Words  | 2 Pages

    In ‘Deconstructing the Map’ Harley looks at the writings of two well-known philosophers’ Michael Foucault and Jacques Derrida, looking at their argument’s around maps. Foucault, a renounced philosopher in cultural theory, examines the external power and the omnipresence of internal power in the cartographic representation of place. Derrida applied conceptions of literary understanding to the maps construction. Derrida’s argument was that like a literary text a map could also be read, and using theory Harley was able to deconstruct the map. Another name that is just mentioned in this essay is Panofsky; Erwin Panofsky was an art historian, “most frequently associated with the concept of iconography, matching the subject-matter of works of art to a symbolic syntax of m...

    Read More

  • The French Revolution & Art

    2050 Words  | 5 Pages

    Thesis: The French Revolution transformed not only the French society, but also had a huge influence and marked impact on what the purposes of the arts and their expression were now, making profound changes in what they would supposed to be used for, in the form of the Neoclassic works of art that made their appearance prior to the French Revolution, in which very special emphasis is given to the patriotic, the nationalist feeling, together with a strong sense of self-sacrifice that should be present in every person’s heart.

    Read More

  • Testadura's View

    1300 Words  | 3 Pages

    Danto uses Testadura as well as his correct and incorrect ideas in “The Artworld” to explain the complex theory of art while subtly, but significantly, showing his point of view. It is only through the art works of Rauschenberg and Oldenburg that the concepts of the imitation theory and the modern reality are introduced as well as the views of Danto being conveyed to those reading. These views are important to understanding and appreciating modern art. They inform the reader that rejection of theories of art happen and will continue to happen as long as there are theories or art. Testadura may be “hard headed”, but it is this quality that helps to better educate people in “The Artworld”.

    Read More

  • Question No Knowledge Can Be Produced By A Single Way Of Knowing

    1695 Words  | 4 Pages

    ...e constraints with using language or sense perceptions as a single way of knowing. As more than one method is used to produce knowledge, inaccuracies or biases would be reduced. Ultimately, our own ‘cultural imprint’ further affects the way we interpret different types of art and how the language used by a historian alters our awareness of a historical event, as it is not possible to ask or investigate knowledge without having a preconceived notion of what you want to find.

    Read More

More about The Map of Art History Uses Order and Classification by Listing of Fields, Library System, and Plotting in Space and Time

Open Document