German Art History and Scientific Thought
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Academic Art History
Adolf Hitler
Alois Riegl
Andrea Pinotti
Architectural Physiognomies
Art Historical Methodology
Art Historical Methods
Art Historical Scholarship
Art Historical Writing
art historiography
August Schmarsow
Biogenetic Law
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Christian Fuhrmeister
comparative anatomy influence
Daniel Adler
Daniela Bohde
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Formalist Art Historians
German Art History
Haeckel's Biogenetic Law
Haeckel's Theory
Hans Sedlmayr
Haptic Styles
Husserl's Logische Untersuchungen
Ian Verstegen
institutionalisation of disciplines
Joan Hart
Johannes Volkelt
Kant's Transcendental Aesthetics
Kunstgeschichtliche Grundbegriffe
Kunstwissenschaft
Lawful Construct
Margaret Olin
methodology in aesthetics
Mitchell B. Frank
Muscular Moment
Painterly Aesthetic
Painterly Perception
psychology of perception
scientific approaches to art history
Synchronic Comparison
Product details
- ISBN 9781409440239
- Weight: 589g
- Dimensions: 156 x 234mm
- Publication Date: 28 Jul 2012
- Publisher: Taylor & Francis Ltd
- Publication City/Country: GB
- Product Form: Hardback
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A fresh contribution to the ongoing debate between Kunstwissenschaft (scientific study of art) and Kunstgeschichte (art history), this essay collection explores how German-speaking art historians of the late nineteenth and early twentieth century self-consciously generated a field of study. Prominent North American and European scholars provide new insights into how a mixing of diverse methodologies took place, in order to gain a more subtle and comprehensive understanding of how art history became institutionalized and legitimized in Germany. One common assumption about early art-historical writing in Germany is that it depended upon a simplistic and narrowly-defined formalism. This book helps to correct this stereotype by demonstrating the complexity of discussion surrounding formalist concerns, and by examining how German-speaking art historians borrowed, incorporated, stole, and made analogies with concepts from the sciences in formulating their methods. In focusing on the work of some of the well-known 'fathers' of the discipline - such as Alois Riegl and Heinrich Wölfflin - as well as on lesser-known figures, the essays in this volume provide illuminating, and sometimes surprising, treatments of art history's prior and understudied interactions with a wide range of scientific orientations, from psychology, sociology, and physiognomics to evolutionism and comparative anatomy.
Mitchell B. Frank, Associate Professor of Art History at Carleton University, is the author of German Romantic Painting Redefined (2001) and Central European Drawings from the National Gallery of Canada (2007). Daniel Adler, Associate Professor of Art History at York University in Toronto, is the author of Hanne Darboven: Cultural History, 1880-1983 (Afterall Books, 2009).
