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An authoritative history of art history from its medieval origins to its modern predicaments
Introduction p. 1 Excavation of Etruscan vases in Arezzo 1890-1900 p. 267 Alois Riegl and the independent life of form The ennobling theories of form of Konrad Fiedler and Adolf von Hildebrand Absolute aestheticism: Oscar Wilde Poetic art history: Bernard Berenson and Vernon Lee 1900-1910 p. 282 Varieties of well-informed tourism The "culture of the Renaissance," continued: Aby Warburg His theory of the image Riegl's inversion of European art history Historiographies of art in China Wilhelm Worringer's sympathy for the barbarians 1910-1920 p. 302 The avant-garde and art history: Blue Rider and Dada Heinrich Wölfflin, the story of harmony and dissonance 1920-1930 p. 318 The discipline reflects on its own history: Wilhelm Waetzoldt, Julius von Schlosser, Erwin Panofsky A theory of art liberated from history: Carl Einstein 1930-1940 p. 329 Art history and Fascism German and Austrian art historians in the U.S. 1400-1500 p. 57 Walter Benjamin and Martin Heidegger: art and origin The life of forms, extended: Henri Focillon Connoisseurial art history 1940-1950 p. 347 Stella Kramrisch on Hindu architecture and time Architectural histories, real and unreal: Rudolf Wittkower, Sigfried Giedion, Hans Sedl-mayr The rendezvous with paleolithic painting Marxist art histories in the U.K. and the U.S. 1950-1960 p. 361 Pax aesthetics: post-war reconciliation between art and modernity, bro-kered by form A Byzantine icon in Nuremberg Therapeutic medievalisms German melancholia Hope in abstraction: Meyer Schapiro Panofsky in search of equilibrium The college survey course Conclusions: Novissima p. 378 The fault-line in the discipline: contemporary art and everything else Realization of the modernist breach with the past Consequences of art's disengagement from the drama of form Content and truth-telling over form and fiction Ancient spolia in Rome Against the relativist plurality of values The realist or technological approach to representation: Ernst Gombrich Morphologies of non-art: George Kubler Gombrich and Kubler's realist mistrust of art Iconoclasm of John Berger Art history and its readership "Irrealist" thought, acquainted with art Our presentisms References p. 409 Index p. 445 The chronicles of Florentine art history: Filippo Villani, Cennino Cennini, and Lorenzo Ghiberti Photo Credits p. 461 1500-1550 p. 69 Martin Luther on progress in the arts Solicitous treatment of old pictures in Italy Relativism Barriers to Christian evaluation of non-Christian art: Ludovico de Varthema in India Mexican art admired by Albrecht Dürer and Bartolomé de las Casas Philological relativism: Ciceronians and anti-Ciceronians Doubts about progress Dürer as art tourist Marc-antonio Michiel's discriminations Giorgio Vasari, Lives of the Artists The album preface of Dust Muhammad 1550-1600 p. 87 Vasari, the second edition A cast of the dice His Sow opinion of medieval art, shared by his contemporaries Reformation and Counter-reformation Mixed reactions to the rediscovery of early Christian art European travelers' descriptions of South Asian monuments Netherlandish artists' perspective on their own past 1600-1650 p. 106 Karel van Mander, Book of Painters Italian critics of Vasari Historical art in the British royal collection Antiquarians and iconographers in England and Italy The origin of art history Architectural history still typological The participatory connoisseurship of Dong Qichang Franciscus Junius's history of ancient painting Francis Bacon against both art and history 1650-1700 p. 127 Art history according to the French and Roman academies The international art market Creative antiquarianism The Kunst- und Wunderkammer European misunderstandings of African cult practices Three modes of art history: annals, typology, the pastoral fable Italian revisions of Vasari Joachim von Sandrart's history of German art Art history in the Qing period and the art theory of Shitao 1700-1750 p. 141 Bernard de Montfaucon's publication of the medieval French monuments Local patriotism among Italian antiquarians Northern European cultivation of the Gothic style Roger de Piles, Jean-Baptiste Dubos, and the subjectivization of aesthetic value Connoisseurship of drawings: Pierre-Jean Mariette 1750-1770 p. 153 Empirical scholarship Four approaches to art and history: Johann Joachim Winckelmann, Denis Diderot, Horace Walpole, and Giovanni Battista Piranesi 1770-1790 p. 167 J. W. Goethe on Strasbourg cathedral Other partisans of medieval form Some early formulations of aesthetic relativism 1790-1810 p. 176 The history of art on display in the Revolutionary Louvre Friedrich Schlegel at the Louvre Copying and collecting of medieval art in Rome and Paris W. H. Wackenroder's and Ludwig Tieck's fantasies of late medieval art 800-1400 p. 47 Contextualism of J.G. Herder Early studies of South Asian art Goethe and the reassertion of idealism 1810-1830 p. 196 The Romantic flight from history: Philipp Otto Runge The Romantic re-enactment of history: the Nazarenes Romantic scholarship: the monographic or "life and works" model The history of art according to William Blake Goethe's studies of late medieval northern art 1830-1850 p. 215 The cleric Adam von Bremen on the images of the Norse gods G.W.F. Hegel: a theory of art supported by a history of art Art history in the German universities The social mnemonics of restoration and festive re-enactment Archeological research New public museums Implications of prosaic or realist art for art historical thought 1850-1870 p. 232 Leopold von Ranke and historicism: "each epoch is immediate to God" Expansion of the architect's menu of forms Travelers' guidebooks St. Francis of Assisi as restorer of churches Conservation and restoration Modernity re-routed through the past: John Ruskin, Gottfried Semper, Eugène Viollet-le-Duc Jacob Burckhardt and the idea of the Renaissance Art criticism in France 1870-1890 p. 252 Professionalization of university-based art history Bourgeois fantasies of the art historical past, especially in Vienna Friedrich Nietzsche on the predicament of the modern historian Resistance to historicism from beyond the university: Eugène Fromentin, Giovanni Morelli, Walter Pater The non-reception of Altamira