Art History and Its Institutions: The Nineteenth Century / Edition 1

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More About This Textbook


Art History and Its Institutions focuses on the institutional discourses that shaped and continue to shape the field from its foundations in the nineteenth century. From museums and universities to law courts, labour organizations and photography studios, contributors examine a range of institutions, considering their impact on movements such as modernism; their role in conveying or denying legitimacy; and their impact on defining the parameters of the discipline.

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Product Details

  • ISBN-13: 9780415228695
  • Publisher: Taylor & Francis
  • Publication date: 8/23/2002
  • Edition description: New Edition
  • Edition number: 1
  • Pages: 344
  • Sales rank: 1,505,993
  • Product dimensions: 6.14 (w) x 9.21 (h) x 0.72 (d)

Table of Contents

List of illustrations
Notes on contributors
Introduction 1
Pt. I Putting art history in its place 9
1 Art history and modernism 11
2 Hearing the unsaid: art history, museology, and the composition of the self 28
3 From Boullee to Bilbao: the museum as utopian space 46
4 Marburg, Harvard, and purpose-built architecture for art history, 1927 65
5 Viollet-le-Duc and Taine at the Ecole des Beaux-Arts: on the first professorship of art history in France 85
6 Colonizing culture: the origins of art history in Australia 100
Pt. II Instituting a canon: placing the center and margins of art history 113
7 Deep innovation and mere eccentricity: six case studies of innovation in art history 115
8 The taste of angels in the art of darkness: fashioning the canon of African art 132
9 Tradesmen as scholars: interdependencies in the study and exchange of art 146
10 How canons disappear: the case of Henri Regnault 163
11 Using art history: the Louvre and its public persona, 1848-52 178
12 Silent moves: on excluding the ethnographic subject from the discourse of art history 191
13 Art history on the academic fringe: Taine's philosophy of art 215
Pt. III The practice of art history: discourse and method as institution 229
14 "For Connoisseurs": The Burlington Magazine 1903-11 231
15 Photographic perspectives: photography and the institutional formation of art history 246
16 Instituting genius: the formation of biographical art history in France 260
17 A preponderance of practical problems: discourse institutionalized and the history of art in the United States between 1876 and 1888 271
18 Emancipation and the Freed in American Sculpture: race, representation, and the beginnings of an African American history of art 283
19 Art photography, history, and aesthetics 295
Index 315
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