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L'histoire de l'art produite en France pendant la première partie du XXe siècle est assez peu présente dans les ouvrages classiques étudiant l'évolution de la discipline. Au-delà de quelques figures pionnières et d'oeuvres fondatrices, comme celles d'Émile Mâle ou d'Henri Focillon, la production historiographique des années 1890-1950 n'est pas réputée avoir entraîné de mutations décisives, ni dans la méthodologie de l'histoire de l'art, ni même dans la définition de son objet.Cette période est pourtant marquée par un foisonnement intellectuel sans précédent, qui a inspiré une large gamme de publications savantes, d'ouvrages de vulgarisation et d'expositions. En explorant à la fois les modalités concrètes de cette production, le parcours de ses acteurs, les concepts fondamentaux de la discipline et la diversité de ses publics, cet ouvrage révèle l'image d'une histoire de l'art ouverte, expérimentale et, en un mot, moderne.

Art historians --- Art --- Art --- Art --- Historiography --- History --- Political aspects

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Art --- art history --- Medieval [European] --- art historians --- anno 500-1499

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Philosophy --- Aesthetics of art --- art history --- art criticism --- philosophy of art --- art historians --- Thuillier, Jacques --- France

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"The professional career and success of Wilhelm Bode (1845-1929) relied on the business of connoisseurship. Like other contemporary art historians involved in the commerce of art, he was entangled in the reciprocal dynamics and interdependencies of the nascent discipline of art history, connoisseurship and the art trade. The volume introduces new material and a fresh perspective on Bode's strategic participation in the Western art market, exposing the particular consequences of these entanglements on the birth of the art historical canon and showcasing his complex agency within the art marketplace of the late nineteenth and the early twentieth centuries"--

Art historians --- Art --- Social networks. --- Economic aspects --- History --- Economic aspects. --- Bode, Wilhelm von, --- 1800-1999 --- Economic relations. Trade --- art market --- connoisseurship --- collecting --- connoisseurs --- Bode, von, Wilhelm

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This book is an account of the theory and practice of practitioners of the so-called 'second' or 'younger' Viennese school associated with Hans Sedlmayr and Otto Pächt and their short-lived journal, 'Kunstwissenschaftliche Forschungen'. It demonstrates the strong dependence of these writers on the work of Gestalt psychology which was emerging at the time. Gestalt theory emerges as the master key to interpreting Sedlmayr and Pächt's ideas about art and history and how it affected their practices.This fresh interpretive apparatus casts light on the power and originality of Sedlmayr's and Pächt's theoretical and empirical writings, revealing a practice-based approach to history that is more attuned to the visuality of art. Verstegen demonstrates the existence of a genealogy of Vienna formalism coursing throughout most of the twentieth-century, encompassing Johannes Wilde and his students at the Courtauld as well as Otto Demus in Byzantine studies. By bringing Gestalt theory to the surface, he dispels misunderstandings about the Vienna School theory and attains a deeper understanding of the promise that a Gestalt analytic holism - a non-intuitionist account of the relational logic of sense - is offered.

Art --- Psychology and art. --- ART / Criticism. --- Art and psychology --- Historiography. --- Pächt, Otto, --- Sedlmayr, Hans, --- Zedlʹmaĭr, Khans, --- Art historians --- Art and society --- Political aspects --- History --- Austria --- Politics and government