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Art --- Research --- Information services --- Directories --- Art - Research. --- Art - Information services - Directories.
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Art --- fine arts [discipline] --- Swiss Institute for Art Research --- anno 1950-1959 --- anno 1960-1969 --- anno 1970-1979
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Arts --- artistic research --- art research --- fine arts --- performing arts --- contemporary art --- Arts. --- Arts, Daghestan --- Arts, Fine --- Arts, Occidental --- Arts, Western --- Fine arts --- Humanities --- Arts, Primitive
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Pour les Modernes, les faits et objets du passé n'acquièrent d'existence véritable qu'en s'inscrivant dans le discours sélectif de l'histoire. Or, de la Renaissance au siècle des Lumières, l'art du Moyen Age a longtemps été tenu aux marges de l'histoire car il semblait porter la marque rédhibitoire de ses origines barbares. Sur l'art roman, plus proche de cet obscur chaos des débuts que le gothique, pesait un oubli naturellement plus lourd. La présente étude entend montrer comment l'art roman est peu à peu devenu un objet de connaissance - et l'un des plus riches que le passé pouvait offrir à l'investigation moderne. Quand vint le temps, au XIXe siècle de toutes les redécouvertes historiques, l'invention du roman devint un laboratoire sans équivalent pour l'archéologue comme pour l'historien. Plus neuf que l'art grec ou romain, plus complexe que le gothique, le roman exigeait de tout inventer, à commencer par sa désignation même que l'on associa longtemps à une très longue période allant de la fin de l'Antiquité à l'avènement du gothique. Pour cerner cette notion, ouverte s'il en fut, il fallut mettre au point de nombreuses stratégies du savoir qui, le plus souvent, consistèrent à adopter le paradigme des sciences contemporaines. Depuis la classification des espèces jusqu'à l'anthropologie, ce sont bien les grands modèles scientifiques qui façonnèrent l'archéologie médiévale. La volonté de fonder une nouvelle catégorie de connaissances historiques sur des bases normatives tourna peut-être à l'illusion scientiste tandis que certaines dérives idéologiques purent entraîner le savoir très loin de ses préoccupations premières. Mais en fin de compte, l'aventure cognitive que représenta la redécouverte de l'art roman doit être considérée comme un moment capital dans le rapport que l'homme occidental entretient avec son passé, sa culture et son art. L'ouvrage que voici est donc conçu à la fois comme une enquête épistémologique et comme un fragment d'histoire culturelle de l'art
Art, Romanesque --- Art --- Art roman --- Historiography. --- Research --- History --- Historiographie --- Recherche --- Histoire --- Histoire de l'architecture --- Histoire de la sculpture --- Neo-romantisme --- 18e siècle --- 19e siècle --- Archéologie --- Mérimée, Prosper --- Quicherat, Jules --- Vaudoyer, Antoine --- Viollet-le-duc, Eugène --- Art, Romanesque - Historiography. --- Art - Research - History - 18th century. --- Art - Research - History - 19th century.
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Australia has one of the largest inventories of rock art in the world with pictographs and petroglyphs found almost anywhere that has suitable rock surfaces – in rock shelters and caves, on boulders and rock platforms. First Nations people have been marking these places with figurative imagery, abstract designs, stencils and prints for tens of thousands of years, often engaging with earlier rock markings. The art reflects and expresses changing experiences within landscapes over time, spirituality, history, law and lore, as well as relationships between individuals and groups of people, plants, animals, land and Ancestral Beings that are said to have created the world, including some rock art. Since the late 1700s, people arriving in Australia have been fascinated with the rock art they encountered, with detailed studies commencing in the late 1800s. Through the 1900s an impressive body of research on Australian rock art was undertaken, with dedicated academic study using archaeological methods employed since the late 1940s. Since then, Australian rock art has been researched from various perspectives, including that of Traditional Owners, custodians and other community members. Through the 1900s, there was also growing interest in Australian rock art from researchers across the globe, leading many to visit or migrate to Australia to undertake rock art research. In this volume, the varied histories of Australian rock art research from different parts of the country are explored not only in terms of key researchers, developments and changes over time, but also the crucial role of First Nations people themselves in investigations of this key component of their living heritage.
Australasian & Pacific history --- Archaeology --- rock art --- Australian rock art --- Australia --- rock art research --- First Nations people --- Petroglyphs --- Picture-writing --- Research --- Carvings, Rock --- Engravings, Rock --- Rock carvings --- Rock engravings --- Rock inscriptions --- Stone inscriptions --- Inscriptions --- Rock paintings --- Ideography --- Pictographs --- Pictography --- Hieroglyphics --- Writing
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This volume introduces to an English-language audience the writings of the so-called new Vienna School of art history. In the 1930s, Hans Sedlmayr and Otto Pächt undertook an ambitious extension of the art historical project of Aloïs Riegl (1858–1905). Sedlmayr and Pächt began with an aestheticist conception of the autonomy and irreducibility of the artistic process. At the same time, they believed they could read entire cultures and worldviews in the work of art. The key to this contextualist alchemy was the concept of “structure,” a kind of deep formal property that the work of art shared with the world. Sedlmayr and Pächt’s project immediately caught the attention of thinkers like Walter Benjamin who were similarly impatient with traditional, cautious empiricist scholarship. But the creativity of the new art history had its dark side. Sedlmayr used his art history as a vehicle for a sweeping critique of modernity that soon escalated into nationalist and outright fascist polemic. Sedlmayr, and by extension the whole scholarly project of Strukturanalyse, were sharply repudiated by Meyer Schapiro and later Ernst Gombrich. The idea of this volume is to bring the drama of this methodological and political encounter to the attention of English-speaking art historians and reveal the analogies between the Vienna School project and the anti-empiricist cultural histories of our own time.
Art --- Historiography. --- Research --- Histoire de l'art --- Modernité --- Philosophie de l'art --- Critique d'art --- Analyse de l'art --- Philosophie --- Histoire --- Benjamin, Walter --- 20e siècle --- Historiography --- Austria --- Vienna (Austria) --- Riegl, Alois --- Influence --- Riegl, Alois, - 1858-1905 - Influence. --- Art - Research - Austria - Vienna. --- Benjamin, Walter, --- Benjamin, Walter, 1892-1940
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