Frank mitchell daniel adler (36 résultats)

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Etat : New. pp. 208.

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Etat : New. pp. 208.

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Etat : New. . . 2016. 1st Edition. paperback. . . . .

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Etat : New. pp. 208 28 Illus.

Etat : New. pp. 208 Index.

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Etat : New. A fresh contribution to the debate between Kunstwissenschaft (scientific study of art) and Kunstgeschichte (art history), this essay collection explores how German-speaking art historians of the late nineteenth and early twentieth century self-consciously generated a field of study. Editor(s): Frank, Mitchell Benjamin; Adler, Asst Prof. Daniel. Num Pages: 208 pages, Includes 28 b&w illustrations. BIC Classification: 1DFG; AC. Category: (G) General (US: Trade). Dimension: 160 x 238 x 17. Weight in Grams: 598. . 2012. 1st Edition. hardcover. . . . . …

Etat : New. pp. 208.

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Etat : New. A fresh contribution to the debate between Kunstwissenschaft (scientific study of art) and Kunstgeschichte (art history), this essay collection explores how German-speaking art historians of the late nineteenth and early twentieth century self-consciously generated a field of study. Editor(s): Frank, Mitchell Benjamin; Adler, Asst Prof. Daniel. Num Pages: 208 pages, Includes 28 b&w illustrations. BIC Classification: 1DFG; AC. Category: (G) General (US: Trade). Dimension: 160 x 238 x 17. Weight in Grams: 598. . 2012. 1st Edition. hardcover. . . . . Books ship from the US and Ireland. …

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Hardcover. Etat : New. A fresh contribution to the ongoing debate between Kunstwissenschaft (scientific study of art) and Kunstgeschichte (art history), this essay collection explores how German-speaking art historians of the late nineteenth and early twentieth century self-consciously generated a field of study. Prominent North American and European scholars provide new insights into how a mixing of diverse methodologies took place, in order to gain a more subtle and comprehensive understanding of how art history became institutionalized and legitimized in Germany. One common assumption about early art-historical writing in Germany is that it depended upon a simplistic and narrowly-defined formalism. This book helps to correct this stereotype by demonstrating the complexity of discussion surrounding formalist concerns, and by examining how German-speaking art historians borrowed, incorporated, stole, and made analogies with concepts from the sciences in formulating their methods. In focusing on the work of some of the well-known 'fathers' of the discipline - such as Alois Riegl and Heinrich Wolfflin - as well as on lesser-known figures, the essays in this volume provide illuminating, and sometimes surprising, treatments of art history's prior and understudied interactions with a wide range of scientific orientations, from psychology, sociology, and physiognomics to evolutionism and comparative anatomy.…

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Taschenbuch. Etat : Neu. This item is printed on demand - it takes 3-4 days longer - Neuware -A fresh contribution to the ongoing debate between Kunstwissenschaft (scientific study of art) and Kunstgeschichte (art history), this essay collection explores how German-speaking art historians of the late nineteenth and early twentieth century self-consciously generated a field of study. Prominent North American and European scholars provide new insights into how a mixing of diverse methodologies took place, in order to gain a more subtle and comprehensive understanding of how art history became institutionalized and legitimized in Germany. One common assumption about early art-historical writing in Germany is that it depended upon a simplistic and narrowly-defined formalism. This book helps to correct this stereotype by demonstrating the complexity of discussion surrounding formalist concerns, and by examining how German-speaking art historians borrowed, incorporated, stole, and made analogies with concepts from the sciences in formulating their methods. In focusing on the work of some of the well-known 'fathers' of the discipline - such as Alois Riegl and Heinrich Wölfflin - as well as on lesser-known figures, the essays in this volume provide illuminating, and sometimes surprising, treatments of art history's prior and understudied interactions with a wide range of scientific orientations, from psychology, sociology, and physiognomics to evolutionism and comparative anatomy. 210 pp. Englisch.…