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Barthes, Roland
The Death of the Author
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MULTIPLICITY OF WRITING CONVERGES IN READER; COMES w/ DEATH OF AUTHOR (1968)
-ideas, not author
-text replaces lost voice
-Surrealism
-writing = clash of unoriginal ideas
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Burckhardt, Jacob
Reflects on History
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TAKE TRAVERSE SECTIONS OF HISTORY IN NOVEL COMBINATIONS WITH AS MUCH INFORMATION AS IS AVAILABLE (1872)
-no a singular system of purpose (emp)
-Centaur: subordinate/coordinate
-not privy to eternal wisdom/origins
-histories are reflections of self
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Foucault, Michel
The Order of Things
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UNCONSCIOUSNESS OF WESTERN EPISTEME MUST BE ACKNOWLEDGED (1970)
-things suffer in law of geometry
-Heterotopias destroy tabula
-order: inner law/nothing > than grid
-btwn codes/order = true experience
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Foucault, Michel
What is an Author
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AUTHOR IS AN IDEOLOGICAL PRODUCT CONSTRUCTED BY THE AUTHOR FUNCTION, THE WORK, AND THE AUTHOR NAME (1969)
-immanent rule: how said/not what
-what generates author’s ideas?
-author = icon that is obj. of investing.
-author created by the work
-return to origin: change practice itself
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Ginzburg,
Carlo Morelli, Freud, and Sherlock Holmes
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SCIENTIFIC APPROACH TO CONNOISSEURSHIP OFFERED BY MORELLI HAS ANCIENT ROOTS & PENETRATES MULTIPLE LEVELS OF SOCIETY (1983)
-those that read clues 1st tell story
-high (sup. Know), low (know→un-K)
-scientific = printing press, Galileo
-qualitative/quantitative
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Gombrich, Ernst
In Search of Cultural History
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CULTURAL HISTORIAN SHOULD HAVE NO PRECONCEIVED NOTIONS (ESPECIALLY NOT HEGELIAN, WHICH IS UTTERLY TOTALIZING) (1972)
art makes art? = questioning Hegel
-exegetic method: intrp. Based on similar
-super-ind collective: Hegelian spirit
-should look at individual cultural history
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Gombrich, Ernst
Style
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STYLE IS AN EXPRESSIVE CHOICE THAT ACCORDS w/ METAPHYSICAL, AND CAN PROVIDE STARTING POINT INTO CULTURAL NARRATIVES (1968)
-style =expressive choice, distinct &recog.
-label style with normative
-tech & competition change style
-physiognomy of style = spirit of age
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Hegel
Aesthetics
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ART IS DIVINED BY THE ABSOLUTE SPIRIT (1886)
-Idea of beauty of art: individual reality & configuration → reveal idea
-Freedom = freedom of will
-Hierarchies of art acc. to material weight
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Kant, Immanuel
The Critique of Judgment
1790
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AESTHETIC JUDGEMENT RELIES ON A SUBJECTIVE PRINCIPLE, AND THEREFORE IT IS IMPOSSIBLE TO DERIVE A FORMULAIC MODEL OF COGNITION (?) 1790
-ideal: repr ind existence adequate to idea
-judgment: btwn understanding/reason
-judg. as faculty: reflective/determinant
-judg. of taste: subjective
-delight: cognition/sensation of pleasure
-agreeability: sensation, not understand
-good: cognitive, not sensuous
-beauty brings universal delight
-universal agreement on taste
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Morelli, Giovanni
Italian painters
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PROPOSING SCIENTIFIC METHOD TO ATTRIBUTE PROPER AUTHORSHIP, WHICH REFLECTS INTIMATE UNDERSTANDING OF ARTIST’S ESSENTIAL CHARACTER (THROUGH DETAIL) 1890
-writing can be false; only art = document
-to attribute authorship, not impress/doc
-connoisseur = objective visual analysis
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Panofsky, Erwin
The History of the Theory of Human Proportions
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HUMAN PROPORTIONS ARE UNIQUE TO, AND DEFINE STYLE (1955)
-proportions express kuntswollen = style
-technical: formulaic scale, obj.: normal
-style is a taxonomy = not purely objectiv.
-preceded modern body theory
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Panofsky, Erwin
The History of Art as a Humanist discipline
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ART & ART HISTORY RECONSTRUCT INTENTIONS OF ARTISTS THROUGH INSTITUTIONAL PRACTICE (1940)
-humanity: conviction/dignity of man
-humanist: art theorist = poet
-not interpretative, based on data
-organic model solves re-creative/forgery
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Pliny the Elder
Natural History
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ART IS A SUBSET OF A LARGER HUMAN HISTORY (79)
-mythological: painting begins w/ shadow
-qualitative
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Riegl, Alois
Late Roman Art Industry
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ART HAS A DEFINITE AND PURPOSEFUL KUNTSWOLLEN ACROSS MEDIUM THAT WORK IN A PROGRESSION (1901)
-rejects idea of decay (art precedes art)
-no hierarchies across medium
-art is result of material & kuntswollen
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Schapiro, Meyer
Style
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STYLE IS SYMPOTMATIC OF THEIR TIME AND HAS NO HIERARCHIES (1953)
-style: for AH, investigate distinct quality
-style point to a specific spatio-temporal
-style is means to cultural info, not end
-To ID art, Form motive/relat., quality
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Vasari, Giorgio
The Lives of the Artists
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CONSTRUCTS INDIVIDUAL GENIUS BY INSISTING ON INDIVIDUAL IDENTITIES OF THE ARTISTS (1568)
-organization by style
-individual IDs = exp of creating arts
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Warburg, Aby
Images from the Regions of the Pueblo Indians
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EVOLUTIONARY STAGE OF SPIRIT IS STAGGERED ACROSS SPATIO-TEMPORAL; CAN VIEW PAST IN THE PRESENT TIME (1923)
-universal symbols indicate univ. of spirit
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White, Hayden
The Historical Text as Literary Artifact
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RE-PLOT UNFAMILIAR POINTS INTO FAMILIAR NARRATIVES/SCHEMA (1978)
-metahistory: answer Q w/o using history
-cannot craft theme; fact = story element
-history = psychoanalysis/expectations
-align history to contemp to better under.
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Winckelmann
History of Ancient Art
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PROMOTE SCHOLARLY ATTENTION TO ART, WITH GREEK ANTIQUITY AS THE PLATONIC IDEAL (1764)
-history ≠ epoch or individual artists
-rise & fall: Neces, pursuit, superfluous
-no scholarship b/c read, not invest; no concept of beauty (undiscovered truth)
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Winckelmann
Reflections on the Imitation of Greek Works in painting and Sculpture
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”GOOD TASTE WAS BORN IN GREECE” (1755)
-should imitate ancients to produce art
-emotive/parenthyrsos: downfall of cont.
-moderns are better at painting
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Wolfflin
The Principles of Art History
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FORMAL ANALYSIS & COMPARISONS TO GIVE MEANING TO STYLISTIC DIFFERENCES (1915)
-style deriv. b/c no objective vision
-zeitgeist
-painterly percep = psych,
-decorative feeling necessary change style
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Biological (Organic) Model of Art
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(Vasari) Art is born, grow up, grow old, die
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Cosmos of Culture
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(Panofsky) Organization of historical fact into cultural fabric; spatio-temporal structure in relation to each other (primitive ≠ contemporary of Michelangelo)
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Organic situation
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(Panofsky) Solves deadlock/paradox; history & doc make a whole b/c new info fits or creates new theories; solves forgeries as well as intuitive recreation of the artwork upon observation
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Heterotopia
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(Foucault) Breakdown of language (opposite of utopia)
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Codes of Culture
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(Foucalt) Establish the order of things w/in a culture; Language, schemas, values (its opp=sci law)
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Art Morphology
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(Morelli) Understanding the outward forms in a work of art
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Author Function
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(Foucault) What an author demarcates, like using “I”, & 2 other things (???????)
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Founders of Discursivity
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(Foucault) Marx & Freud initiated ideas that continue with same validity in later times; unanswered
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Optical refinement
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(Panofsky) Correct the visual impression
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Epistemology
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(Foucault) The study of how we know what we know
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Vast Spiritual Map
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(Burckhardt) Projection of ethnography that embraces both material and spiritual world
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Exegetic Method
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(Gombrich) Bases interpretation of the detection of likeness (that doesn’t conform to Hegel’s Spirit)
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Supra-Individual Collective
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(Gombrich) Term for Hegelian idea; claims that it blocks the possibility of real cultural histories
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Free Concrete Spirituality
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(Hegel) Romantic art reaches concrete spiritually free of sensuous form (for the most part)
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Decorative Feeling
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(Wolfflin) Dictates style; changes in decorative feeling change mode of representation
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Parenthyrsos
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(Winckelmann) Exaggerated, out of place pathos
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Conjectural Paradigm
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(Ginzburg)
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