Art History and the Nineteenth Century: Realism and Resistance

Shiff, Richard

doi:10.2307/3051152

Cited by 3 publications

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“…Realism and the representation of the real world were both rejected by the artwork of the Middle Ages [1]. Painting, they felt, should represent the external world according to rationalist ideas, which established a theoretical framework for the Renaissance.…”

Section: The Historical Context and Basis For The Composition Of "On ...mentioning

confidence: 99%

A Brief Analysis of Alberti’s Art Theory - Taking On Painting” as an Example

Zhou

2024

J. Soft. Comput. Decis. Anal.

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People’s perceptions of artists in Italy, particularly Florence, have transformed since the 15th century. Artists have created works of art that reflect the humanistic ethos of the era, which has fostered the study of art theory by humanist scholars and contributed to the development of an art historical consciousness. In his artistic theory, the Italian humanist Alberti of the early 15th century reflected the new development of Florentine art. Alberti, an artist and theorist of the early Renaissance, examined the changes in artistic creation in the new era with a very avant-garde and contemporary perspective, and applied scientific theoretical knowledge to painting creation as a premise for studying painting art techniques. His influential treatise “On Painting” is regarded as the first systematic painting theory work in the West, establishing the groundwork for Renaissance art theory. His description of the sublime nature of painting elevated painting’s status and reputation as an art form. It is also advantageous to facilitate the transition of painters from painters to artists. This article is founded on the theoretical content proposed in Alberti’s “On Painting” art theory work, analyzing the painting concepts proposed by Alberti and its governing function in Renaissance art.

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Section: The Historical Context and Basis For The Composition Of "On ...mentioning

confidence: 99%

A Brief Analysis of Alberti’s Art Theory - Taking On Painting” as an Example

Zhou

2024

J. Soft. Comput. Decis. Anal.

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“…In the last decade, under the influence of broad intellectual currents in the literary history (e.g., Bryson, 1983), a large number of academic art historians have incorporated semiotics, new developments in linguistics, rhetorical theory, and psychoanalysis into their methods (Shiff, 1988). They have picked up on some of the same intellectual currents that have touched sub-Saharan art studies.…”

Section: Shifts In Art Historymentioning

confidence: 99%

“…An important debate in art history also concerns the final form in which research results are presented, both for its retroactive effect on method and its forward effect on future understanding. As phrased by art historian Richard Shiff (1988), there is an ongoing tension between a "totalizing" approach that engages in a rhetoric of objectivity and one that recognizes interpretive multiplicity. A totalizing account employs a "positivistic" method.…”

Section: Shifts In Art Historymentioning

confidence: 99%

African Visual Arts from an Art Historical Perspective

Adams¹

1989

African Studies Review

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This overview assesses the study of sub-Saharan art by art historians in the United States, as a complement to the earlier examination by Paula Ben-Amos (1987) of African art studies from an anthropological perspective. Academic status for African art history, focused on sub-Saharan Africa, began in the 1950s, when a small group of scholars assigned style categories and broad social functions to works of West and Central African sculpture. With the expansion and development of the field, linked to the use of anthropological methods, the emphasis in research has shifted towards adopting multiple perspectives of analysis and seeking African categories in relation to varied artistic production. Nevertheless, study of sub-Saharan art has achieved only a marginal status in the disciplines of art history and anthropology. This essay examines the problems of these relationships, the types of changing scholarly activities that have characterized the field of sub-Saharan art, and considers options for the future.

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‘n Homilie oor geloofsonderskeiding in ‘n akkoord van drie

Merwe

2012

HTS Teologiese Studies / Theological Studies

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A homily on discernment of faith in a chord of three. This article reflects on discernment as a key Christian faith practice of the believing community that wants to live according to its vision and mission as articulated in 1 Peter 2:21: To this you were called, because Christ suffered for you, leaving you an example, that you should follow in his steps. This homily is presented as a chord consisting of three notes that entices the readers to contribute their own harmonies – to witness to their own contexts of tension between true and false prophecy, to choose for God’s presence in Jesus Christ and to perservere as followers of Jesus amid the coldness and cruelty of this world. These disciples choose Jesus in spite of the chaos in their own lives and in their world. A similar choice was made by one of the criminals on the cross alongside Jesus (Lk 23:42). The three notes that make up the chord are: discernment on the basis of the Bible with the guidance of the Holy Spirit in order to distinguish the will of God for the road ahead.

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Art History and the Nineteenth Century: Realism and Resistance

Cited by 3 publications

References 0 publications

A Brief Analysis of Alberti’s Art Theory - Taking On Painting” as an Example

A Brief Analysis of Alberti’s Art Theory - Taking On Painting” as an Example

African Visual Arts from an Art Historical Perspective

‘n Homilie oor geloofsonderskeiding in ‘n akkoord van drie

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