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Melancholy is not only about sadness, despair, and loss. As Renaissance artists and philosophers acknowledged long ago, it can engender a certain kind of creativity born from a deep awareness of the mutability of life and the inevitable cycle of birth and death. Drawing on psychoanalysis, philosophy, and the intellectual history of the history of art, The Melancholy Art explores the unique connections between melancholy and the art historian's craft. Though the objects art historians study are materially present in our world, the worlds from which they come are forever lost to time. In this eloquent and inspiring book, Michael Ann Holly traces how this disjunction courses through the history of art and shows how it can give rise to melancholic sentiments in historians who write about art. She confronts pivotal and vexing questions in her discipline: Why do art historians write in the first place? What kinds of psychic exchanges occur between art objects and those who write about them? What institutional and personal needs does art history serve? What is lost in historical writing about art? The Melancholy Art looks at how melancholy suffuses the work of some of the twentieth century's most powerful and poetic writers on the history of art, including Alois Riegl, Franz Wickhoff, Adrian Stokes, Michael Baxandall, Meyer Schapiro, and Jacques Derrida. A disarmingly personal meditation by one of our most distinguished art historians, this book explains why to write about art is to share in a kind of intertwined pleasure and loss that is the very essence of melancholy. Some images inside the book are unavailable due to digital copyright restrictions.

Art --- History as a science --- Affective and dynamic functions --- Melancholy. --- Mélancolie --- Historiography. --- Historiographie --- Melancholy --- Historiography --- Art - Historiography. --- Visual Arts --- Art, Architecture & Applied Arts --- Visual Arts - General --- Mélancolie --- Dejection --- Emotions --- Depression, Mental --- Sadness --- Art - Historiography --- Aby Warburg. --- Aestheticism. --- Aesthetics. --- Allegory. --- Alois Riegl. --- Anachronism. --- Analytic confidence. --- Ancient art. --- Aphorism. --- Art criticism. --- Art history. --- Arthur Schopenhauer. --- Artistic merit. --- Ben Nicholson. --- Bernard Berenson. --- Bernard Bosanquet (philosopher). --- Beyond the Pleasure Principle. --- Caspar David Friedrich. --- Christopher Bollas. --- Classicism. --- Connoisseur. --- Consciousness. --- Contemporary art. --- Criticism. --- Critique of Judgment. --- Death drive. --- Deconstruction. --- Ernst Gombrich. --- Erwin Panofsky. --- Explanation. --- Fra Angelico. --- Friedrich Nietzsche. --- Fritz Saxl. --- Garry Wills. --- Georg Wilhelm Friedrich Hegel. --- George Steiner. --- Giovanni Morelli. --- Hannah Arendt. --- Hans Ulrich Gumbrecht. --- Hayden White. --- Iconography. --- Illusionism (art). --- Isabella Stewart Gardner Museum. --- Jacques Derrida. --- Jacques Lacan. --- Jacques-Alain Miller. --- James Strachey. --- Jan van Eyck. --- Johann Joachim Winckelmann. --- Josef Strzygowski. --- Julia Kristeva. --- Linguistic turn. --- Literary theory. --- Marion Milner. --- Marsilio Ficino. --- Martin Heidegger. --- Maurice Blanchot. --- Melanie Klein. --- Metahistory. --- Metonymy. --- Meyer Schapiro. --- Michael Baxandall. --- Minima Moralia. --- Modernism. --- Modernity. --- Museum. --- Oceanic feeling. --- Oskar Kokoschka. --- Overpainting. --- Paul de Man. --- Petrarch. --- Philosopher. --- Philosophy. --- Positivism. --- Post-structuralism. --- Postmodernism. --- Psychoanalysis. --- Putto. --- Rainer Maria Rilke. --- Renaissance art. --- Rhetoric. --- Richard Wollheim. --- Romanticism. --- Saint Francis Receiving the Stigmata (van Eyck). --- Sandro Botticelli. --- Simone Martini. --- Svetlana Alpers. --- The Art of Memory. --- The Gaze of Orpheus. --- The Origin of German Tragic Drama. --- The Philosopher. --- Theses on the Philosophy of History. --- Thought. --- Tintoretto. --- Unthought known. --- W. G. Sebald. --- Walter Benjamin. --- Walter Pater. --- Work of art. --- Writing.

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John Shearman makes the plea for a more engaged reading of art works of the Italian Renaissance, one that will recognize the presuppositions of Renaissance artists about their viewers. His book is the first attempt to construct a history of those Renaissance paintings and sculptures that are by design completed outside themselves in or by the spectator, that embrace the spectator into their narrative plot or aesthetic functioning, and that reposition the spectator imaginatively or in time and space. He takes the lead from texts and artists of the period, for these artists reveal themselves as spectators. Among modern historiographical techniques, Reception Theory is closest to the author's method, but Shearman's concern is mostly with anterior relationships with the viewer--that is, relationships conceived and constructed as part of the work's design, making, and positioning. Shearman proposes unconventional ways in which works of art may be distinguished one from another, and in which spectators may be distinguished, too, and enlarges the accepted field of artistic invention. Furthermore, His argument reflects on the Renaissance itself. What is created in this period tends to be regarded as conventional, or inherent in the nature of painting and sculpture: he maintains that this is a careless, disengaged view that has overlooked the process of discovery by immensely inventive and visually intelllectual artists. John Shearman is William Door Boardman Professor of Fine Arts at Harvard University. Among his works are Mannerism (Hardmondsworth/Penguin), Raphael's Cartoons in the Collection of Her Majesty the Queen and the Tapestries for the Sistine Chapel (Phaidon), The Early Italian Paintings in the Collection of Her Majesty the Queen (Cambridge). and Funzione e Illusione (il Saggiatore).The A.W. Mellon Lectures in the Fine Arts, 1988Bollingen Series XXXV: 37Originally Publsihed in 1992The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Art, Italian. --- Art, Renaissance --- Audiences --- Psychology. --- Art, Italian --- -Audiences --- -Audiences, Communication --- Communication audiences --- Communication --- Spectators --- Italian art --- Bamboccianti (Group of artists) --- Corrente (Group of artists) --- Cracking Art (Group of artists) --- Fronte nuovo delle arti (Group of artists) --- Geometria e ricerca (Group of artists) --- Girasole (Group of artists) --- Gruppo 1 (Group of artists) --- Gruppo Aniconismo dialettico (Group of artists) --- Gruppo di Como (Group of artists) --- Gruppo di Scicli (Group of artists) --- Gruppo Enne (Group of artists) --- Gruppo Forma uno (Group of artists) --- Italiens de Paris (Group of artists) --- Mutus Liber (Group of artists) --- Novecento italiano (Group of artists) --- Nuovi-nuovi (Group of artists) --- Origine (Group of artists) --- Sei pittori di Torino (Group of artists) --- Transvisionismo (Group of artists) --- Renaissance art --- Psychology --- Social aspects --- -Psychology --- History --- Renaissance --- Painting --- Art --- anno 1400-1499 --- anno 1500-1599 --- Italy --- Art italien --- Art de la Renaissance --- Audiences, Communication --- Art, Renaissance - Italy. --- Audiences - Psychology. --- Italiaanse school --- Adolf von Hildebrand. --- Albrecht Dürer. --- Altarpiece. --- Andrea Fulvio. --- Andrea Mantegna. --- Andrea Solari. --- Andrea del Sarto. --- Antonello da Messina. --- Antonio Rossellino. --- Aretino. --- Bacchus and Ariadne. --- Baptistery. --- Baroque architecture. --- Basilica. --- Bembo. --- Camera degli Sposi. --- Caravaggio. --- Catullus. --- Cecilia Gallerani. --- Chiaroscuro. --- Christ among the Doctors (Dürer). --- Conceit. --- Cosimo de' Medici. --- Counter-Reformation. --- Cristofano Allori. --- Della Rovere. --- Diego Velázquez. --- Donatello. --- Duke of Florence. --- Edward Burne-Jones. --- Epigram. --- Famulus. --- Feast of the Gods (art). --- Filarete. --- Filippino Lippi. --- Galleria Borghese. --- Ginevra de' Benci. --- Giorgio Vasari. --- Giorgione. --- Giovanni Bellini. --- Giovanni Pisano. --- Giulio Romano. --- Grand manner. --- Hercules and Cacus. --- Heroides. --- High Renaissance. --- High place. --- Hyperbole. --- Intentionality. --- Jan van Eyck. --- Las Meninas. --- Lateran Baptistery. --- Lodovico Dolce. --- Madonna of the Harpies. --- Mario Equicola. --- Mario Praz. --- Marriage of the Virgin (Perugino). --- Masaccio. --- Master of the Virgo inter Virgines. --- Michelangelo. --- Mona Lisa Smile. --- Mystery play. --- National Gallery of Art. --- Orlando Furioso. --- Paragone. --- Parmigianino. --- Persius. --- Pesaro Madonna. --- Petrarch. --- Phrenology. --- Pietro da Cortona. --- Poetry. --- Poliziano. --- Pontormo. --- Pope Julius II. --- Pseudo-Bonaventura. --- Putto. --- Reginald Pole. --- Religion. --- Renaissance art. --- Richard Wollheim. --- Rokeby Venus. --- Romanticism. --- Ruggiero (character). --- Sack of Rome (1527). --- Saint Roch. --- Sandro Botticelli. --- Simone Martini. --- Sistine Chapel. --- Sleeping Venus (Giorgione). --- The Feast of the Gods. --- The Fire in the Borgo. --- The Philosopher. --- The School of Athens. --- The Spirit of the Laws. --- The Vision of the Cross. --- The Worship of Venus. --- Tintoretto. --- Titian. --- Work of art.