Inhaltsangabe
A survey of the different visual arts within a sweeping conception of the history of culture by a highly influential figure in art history.
The work of Alois Riegl (1858-1905) has been highly influential in art history of the modern age. Riegl, the most important member of the so-called Vienna School, developed a refined technique of visual or formal analysis that departed from the iconological method, which emphasized decoding motifs through recourse to texts. Riegl also pioneered understanding of the changing role of the viewer, the significance of non-high art objects (or what would now be called visual or material culture), and theories of art and art history, including his much-debated neologism Kunstwollen (the will of art). His major works include Foundations for a History of Ornament, Late Roman Art Industry, and The Group Portraiture of Holland. Riegl's Historical Grammar of the Visual Arts, which brings together the diverse threads of his thought, is now available to an English-language audience, in a masterful translation by Jacqueline E. Jung. In one of the earliest and perhaps the most brilliant of all art historical surveys, Riegl addresses the different visual arts within a sweeping conception of the history of culture. His account derives from Hegelian models but decisively opens onto alternative pathways that continue to complicate attempts to reduce art merely to the artist's intentions or its social and historical functions.
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The intelligence, originality, and range of Riegl's writings remain unsurpassed in the history of art-historical scholarship. -from the foreword by Benjamin Binstock
Reseña del editor
A survey of the different visual arts within a sweeping conception of the history of culture by a highly influential figure in art history. The work of Alois Riegl (1858-1905) has been highly influential in art history of the modern age. Riegl, the most important member of the so-called Vienna School, developed a refined technique of visual or formal analysis that departed from the iconological method, which emphasized decoding motifs through recourse to texts. Riegl also pioneered understanding of the changing role of the viewer, the significance of non-high art objects (or what would now be called visual or material culture), and theories of art and art history, including his much-debated neologism Kunstwollen (the will of art). His major works include Foundations for a History of Ornament, Late Roman Art Industry, and The Group Portraiture of Holland. Riegl's Historical Grammar of the Visual Arts, which brings together the diverse threads of his thought, is now available to an English-language audience, in a masterful translation by Jacqueline E. Jung. In one of the earliest and perhaps the most brilliant of all art historical surveys, Riegl addresses the different visual arts within a sweeping conception of the history of culture. His account derives from Hegelian models but decisively opens onto alternative pathways that continue to complicate attempts to reduce art merely to the artist's intentions or its social and historical functions.
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Historical Grammar of the Visual Arts (Mit Press)
Anbieter: Flamingo Books, Menifee, CA, USA
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hardcover. Zustand: Good. Zustand des Schutzumschlags: Very Good. 2004 Zone Books (New York)6 3/8 x 9 1/4 inches tall black cloth hardcover in publisher's unclipped dust jacket, gilt lettering to spine, black endpapers, illustrated with black-and-white photographs, 495 pp. Very slight soiling, rubbing and edgewear to covers, with slight staining to fore and top page edges. Three of four pages in the introductory material with underlines of marginal tick marks. Otherwise, apart from creasing to a couple of page tips, a very good copy in a very good dust jacket which is nicely preserved and displayed in a clear archival Brodart sleeve. ~W~ [3.0P] The 2004 English translation of an important 1966 German work by art historian Alois Riegl, a founder of modern art history. The book analyzes the historical development of art through formal categories, or 'grammar,' focusing on the changing relationships between motifs, form, surface, and viewer perception across different historical periods, rather than just subject matter. It is considered a foundational text for formalist art history, and its translated edition by Jacqueline E. Jung made Riegl's complex work accessible to an English-speaking audience. The book is based on an 1897-1898 manuscript and 1899 lecture notes, originally published posthumously in German in 1966. This translated English edition includes the main manuscript and a second, more concise version from lecture notes. It organizes the history of art into three major periods: the 'contest with nature' through physical beauty (e.g., ancient art), the same contest through spiritual beauty (e.g., medieval art), and the reproduction of transitory nature (e.g., Renaissance and later). The book is considered a landmark work in art history, influencing generations of scholars, particularly those in formalist and formal-psychological approaches to art. Bestandsnummer des Verkäufers W-1252-15357
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Historical Grammar of the Visual Arts (Mit Press)
Anbieter: Webster's Bookstore Cafe, Inc., State College, PA, USA
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hardcover. Zustand: Very Good. Mild general wear to covers. Bright pages. Some underlining and marginalia near the beginning of the book, in pencil, and mostly neat. Sound binding. Bestandsnummer des Verkäufers mon0000136828
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Historical Grammar of the Visual Arts (Mit Press)
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Zustand: Good. Your purchase helps support Sri Lankan Children's Charity 'The Rainbow Centre'. Ex-library, so some stamps and wear, but in good overall condition. Our donations to The Rainbow Centre have helped provide an education and a safe haven to hundreds of children who live in appalling conditions. Bestandsnummer des Verkäufers Z1-I-023-02285
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Historical Grammar of the Visual Arts
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hardcover. Zustand: Very Good. Zustand des Schutzumschlags: Very Good. First Edition. Zone Books, 2004; same date on title and copyright pages, no additional printings indicated; 495pp. VG/VG- hardcover in VG dust jacket. Binding is tight, sturdy, and square; minor wear to edges of black cloth boards, gilt titling remains bright and bold; text very good; dark brown spotting on top edge of page block, does not affect interior. Light wear to edges of unclipped dust jacket; jacket arrives wrapped in protective mylar. Due to the size/weight of this book extra charges may apply for international shipping. Ships same or next business day from Dinkytown in Minneapolis, Minnesota. Bestandsnummer des Verkäufers 318994
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Alois Riegl: Zone Books: Historical Grammar of the Visual Arts
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Zustand: Good. This is an ex-library book and may have the usual library/used-book markings inside.This book has hardback covers. Clean from markings. In good all round condition. Dust jacket in good condition. Please note the Image in this listing is a stock photo and may not match the covers of the actual item,1000grams, ISBN:9781890951450. Bestandsnummer des Verkäufers 9872761
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Historical Grammar of the Visual Arts (Mit Press)
Anbieter: BennettBooksLtd, San Diego, NV, USA
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hardcover. Zustand: New. In shrink wrap. Looks like an interesting title! Bestandsnummer des Verkäufers Q-1890951455
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Historical Grammar of the Visual Arts (Mit Press)
Anbieter: Toscana Books, AUSTIN, TX, USA
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Hardcover. Zustand: new. Excellent Condition.Excels in customer satisfaction, prompt replies, and quality checks. Bestandsnummer des Verkäufers Scanned1890951455
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Historical Grammar of the Visual Arts. Alois Riegl. Transl. by Jacqueline E. Jung. Foreword by Benjamin Binstock.
Anbieter: Fundus-Online GbR Borkert Schwarz Zerfaß, Berlin, Deutschland
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Zustand: Sehr gut. 495 Seiten; Illustrationen; 23,5 cm; fadengeh., rückengoldgepr. Orig.-Leinenband mit farb. illustr. OUmschlag. Sehr gutes Exemplar. - Englisch. - Alois Riegl (* 14. Januar 1858 in Linz; 17. Juni 1905 in Wien) war ein österreichischer Kunsthistoriker, Denkmalpfleger und Vertreter der Wiener Schule der Kunstgeschichte. 1894 wurde er außerordentlicher, 1897 ordentlicher Professor für Kunstgeschichte an der Universität Wien. 1902 bis 1905 war Riegl neben seiner Professur Generalkonservator der Zentralkommission für die Erforschung und Erhaltung der Kunst- und historischen Denkmale. Alois Riegl prägte für die Kunsttheorie den einflussreichen Begriff des Kunstwollens als definierende Kraft einer Stilepoche. Er wendete sich gegen eine an Werteurteilen orientierte Kunstgeschichtsschreibung und betonte die Bedeutung der damals als "Verfallszeiten" geltenden Epochen (Spätantike). Seiner Ansicht nach ist die antike Kunst Ausgangspunkt sowohl der frühmittelalterlichen wie auch der orientalischen Kunst. Einflussreich wurden auch Riegls Konzepte in Sachen Denkmalschutz. Ähnlich Georg Dehio in Deutschland plädierte Riegl gegen die im 19. Jahrhundert verbreitete "Perfektionierung" und den purifizierenden Weiterbau historischer Bauwerke (etwa gotischer Kirchen). (wiki) // INHALT : Foreword --- Alois Riegl, Monumental Ruin: --- Why We Still Need to Read Historical Grammar of the Visual Arts --- Benjamin Binstock --- Translator's Preface --- Übersetzungsfragen: Form, Communication, and Questions of Translating Riegl --- Jacqueline E. Jung --- First Version --- BOOK MANUSCRIPT OF 1897-189 --- Introductory Remarks --- WORLDVIEW --- First Period: Art as Improvement of Nature Through Physical Beauty --- Growth --- Summit --- Decline --- Second Period: Art as Improvement of Nature Through Spiritual Beauty --- Further Developments of Art That Improves Physical Nature --- Byzantine Art --- Art of Islam --- The Actual Course of the Second Period in the West Italy --- THE GROWTH OF NATURE-SPIRITUALIZING ART IN ITALY --- THE SUMMIT OF NATURE-SPIRITUALIZING ART IN FOURTEENTH-CENTURY ITALY --- THE DECLINE OF NATURE-SPIRITUALIZING ART IN THE RENAISSANCE --- Germanic Peoples --- THE GROWTH OF NATURE-SPIRITUALIZING ART AMONG GERMANIC PEOPLES --- The First Impact of Late Roman (and Byzantine) Art on Germanic Peoples --- Carolingian and Ottonian Art The Phase of Romanesque Art --- THE SUMMIT OF GERMANIC CHRISTIAN ART IN --- THE THIRTEENTH AND FOURTEENTH CENTURIES --- THE DECLINE OF GERMANIC CHRISTIAN ART --- Third Period: Art as Reproduction of Transitory Nature --- PART TWO ELEMENTS OF THE WORK OF ART --- Purpose --- First Period: Art Perfects Nature --- Ancient Egyptian Art i --- Greek Art Bejore Alexander the Great i --- Antiquity from Alexander to Constantine the Great --- Second Period: Art Spiritualizes Nature --- Third Period: Art Competes with Nature for Its Own Sake --- V Motifs --- The Nature-Beautifying Period --- Ancient Egyptian Art --- Greek Art Before Alexander the Great --- Antiquity After Alexander the Great --- The Nature-Spiritualizing Period --- Art in Italy --- THE EARLY CHRISTIAN PERIOD --- THE GIOTTESQUE PHASE --- THE RENAISSANCE --- Germanic Christian Art --- THE PERIOD OF GROWTH TO THE TWELFTH CENTURY --- Early Origins from 476 to 768 C.E. --- Carolingian-Ottonian Period --- Romanesque Period --- THE SUMMIT OF GERMANIC CHRISTIAN ART THE DECLINE OF GERMANIC CHRISTIAN ART --- The Period Since 1520 --- Italy --- People of Germanic Roots --- VI Form and Surface --- First Period: Nature-Improving Art --- Egypt --- Greek Art Before Alexander the Great --- ORGANIC MOTIFS --- INORGANIC MOTIFS --- Antiquity After Alexander the Great --- LINEAR PERSPECTIVE --- LIGHT AND SHADOW --- AERIAL PERSPECTIVE --- Second Period: Nature-Spiritualizing Art --- The Revolution of Late Roman Art --- ORGANIC MOTIFS --- INORGANIC MOTIFS --- Byzantine Art --- Islamic Art --- Italian Art --- ROMANESQUE PHASE --- GIOTTESQUE ART --- THE RENAISSANCE --- Draft of the Missing Conclusion --- Gothic --- Italian Renaissance Architecture --- Baroque Architecture --- Second Version --- Introduction --- PART ONE WORLDVIEW --- I First Period: Antique Anthropomorphic Polytheism to the Third Century C.E. --- Ancient Near Eastern Polytheism --- Classical Polytheism to the Hellenistic Age --- The Hellenistic Age --- II Second Period: Christian Monotheism, 313-1520 --- The Eastern Roman Christian Worldview --- The Western Roman Christian Worldview and Its Relation to Art --- III Third Period: Natural-Scientific Worldview --- PART TWO ELEMENTS --- IV Motifs and Purposes --- Motifs in Antiquity Under the Polytheistic Worldview --- Ancient Near FMStern Art --- The Summit of Antique Art with the Greeks --- EARLY GREEK ART --- CLASSICAL ART --- LATE ANTIQUE ART --- LATE ROMAN ART -- (u.a.) ISBN 1890951455 Sprache: Englisch Gewicht in Gramm: 750. Bestandsnummer des Verkäufers 1220903
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