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Journal articles on the topic 'Art Art and history Time in art Chronology'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Belting, Hans. "The Museum of Modern Art and the History of Modernism." Nka Journal of Contemporary African Art 2020, no. 46 (2020): 100–114. http://dx.doi.org/10.1215/10757163-8308222.

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Right from its opening in 1929, the Museum of Modern Art (MoMA) recreated modern art as a new myth that was rescued from European history and thus became accessible as an independent value for an American audience. Paradoxically, the myth stemmed from the opinion that modern art’s history seemed to have expired in pre-war Europe. Upon MoMA’s completion of a major expansion project in 2004, there was considerable anticipation about how the museum would represent its own history and raise its profile in a new century. As it turned out, the museum opted for a surprisingly retrospective look, sinc

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2

Ульянова, Nataliya Ulyanova, Гудкова, and Anastasiya Gudkova. "Aesthetics of Socio-Cultural Space." Socio-Humanitarian Research and Technology 4, no. 4 (2015): 83–86. http://dx.doi.org/10.12737/17205.

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This paper’s aim is the analysis of modern trends in design, and modern design influence on environment’s aesthetic space and art development. Trends in the fine art and design development at the example of traditional artworks have been considered in this paper. A design work is a thing of the wizard. All problems are due to real processes, which over the past decade literally alter the artwork’s essence and character. Invariably is the fact that the design carries a history and chronology of the ancient times’ art.

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Kohut, Volodymyr. "Video art of Lviv, late XX - early XXI century, historical context: creating an art form." Bulletin of Lviv National Academy of Arts, no. 39 (2019): 317–33. http://dx.doi.org/10.37131/2524-0943-2019-39-22.

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Background. For the last 25 years videoart in Ukraine had passed a maturation from the elementary experimental video practices of the end of the 80's to the full-identical art form. Like most of the USSR innovative art trends, videoart in Ukraine paved it's way through the formal endorsement's resistance and had been creating owing to the enthusiasm and persistence of individual artists and single artistic formations. Ukrainian videoart had developed according to all the fine art growth's features of socialistic period; however was established and concepted for the first time in Lviv as a phen

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4

De Armas, Frederick A. "The 2007 Josephine Waters Bennett Lecture:Sancho as a Thief of Time and Art: Ovid’sFastiand Cervantes’Don Quixote2*." Renaissance Quarterly 61, no. 1 (2008): 1–25. http://dx.doi.org/10.1353/ren.2008.0004.

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AbstractReturning from Algerian captivity in 1580 — when Gregory XIII’s calendar reform was implemented in Spain — Miguel de Cervantes had only two years to adjust from Islamic to Christian time. The fragility and instability of time hence became a central motif for Cervantes. In part 2 ofDon Quixote, the time-altering anxieties of the Gregorian calendar appear in glaring gaps in time, in the shifting chronology of the text, and in images that recall the sundial as reflective of time and of the brevity of human life. Cervantes uses Ovidian feasts to further destabilize the quixotic chronology,

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Verstegen, Ian. "Review: Dan Karlholm and Keith Moxey (eds) Time in the History of Art: Temporality, Chronology and Anachrony." Journal of Visual Culture 19, no. 3 (2020): 426–29. http://dx.doi.org/10.1177/1470412920936578.

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6

Francis, Julie E., Lawrence L. Loendorf, and Ronald I. Dorn. "AMS Radiocarbon and Cation-Ratio Dating of Rock Art in the Bighorn Basin of Wyoming and Montana." American Antiquity 58, no. 4 (1993): 711–37. http://dx.doi.org/10.2307/282204.

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Samples of organic matter and rock varnish from seven rock-art sites in the Bighorn Basin of Wyoming and Montana were collected for dating purposes. Petroglyphs sampled include Dinwoody-style figures, shield-bearing warriors, and other well-known Plains rock-art motifs. Accelerator mass spectrometry (AMS) dating of 10 petroglyphs yielded dates from the Early Archaic to the Protohistoric periods. A strong numerical relation between varnish leaching and time was found for petroglyphs older than 1,000 years, permitting the derivation of a cation-leaching curve (CLC) and calibrated cation-ratio (C

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Komissarov, Sergey A., Dmitry V. Cheremisin, and Aleksndr I. Solovyev. "Petroglyphs of Kangjiashimenzi (Xinjiang, PRC): Once Again about the Chronology and Semantics of the Site." Oriental Studies 19, no. 10 (2020): 9–22. http://dx.doi.org/10.25205/1818-7919-2020-19-10-9-22.

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The article discusses a unique monument of rock-art on the territory of Xinjiang – namely the petroglyphs of Kangjiashimenzi (Hutubi County). The person who began scientific investigation of this site in 1987 was Professor Wang Binghua. From that time, the issues of Hutubi petroglyphs became among the most popular topics in Chinese archaeological literature but only in a few publications in other countries and only one – in Russia. This article aims to fill this gap. The Kangjiashimenzi rock-art panel comprises 292 images of different size composed as a whole ensemble depicted using a counter-

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8

Nikolić, Sanela. "A biography of Boulez as a music writer." New Sound, no. 48-2 (2016): 9–19. http://dx.doi.org/10.5937/newso1648009n.

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In the period from 1948, the writings of Pierre Boulez were published in several languages and in over forty magazines of art and contemporary music. They were also published in the programmes for concerts Domaine musical, for the performances of Wagner's pieces in Bayreuth, in over sixteen booklets for the editions of the records on "new music", in the forewords for different studies, in five collections printed in several volume-amounting to over a hundred and thirty texts. The number of publications of Boulez articles is, however, almost four times as many as the number of titles, since a l

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Arunlal, K., and C. Sunitha Srinivas. "All in the space of a poem: Spatial logics in poetry." Journal of European Studies 47, no. 3 (2017): 249–58. http://dx.doi.org/10.1177/0047244117713159.

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One of the oldest cultural practices of human societies, poetry, simultaneously responded and contributed to the evolution of human sense of spaces. Before print culture became ubiquitous, poetry was a time-art: all classic poetic techniques and devices were meant to hold a piece of verse permanently in a person’s memory, and by extension, in a community’s living history. However, contemporary poetry has little use for the chronologic dimension of poetry. The correlation of spatialized poetry with the new proliferation of ideas regarding space can be explored in multiple angles. The way space

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10

Morrison, Kathleen D. "On Putting Time in its Place: Archaeological Practice and the Politics of Time in Southern India." Cambridge Archaeological Journal 26, no. 4 (2016): 619–41. http://dx.doi.org/10.1017/s0959774316000421.

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The work of time-making is always a work of the present, and even in its driest form, the archaeological chronology, is a political process. Archaeological practices which make time from space necessarily dissect unified material landscapes into temporal slices, ‘cuts’ of time and space that can either mute or give voice to past interactions with material landscapes, engagements sometimes called ‘the past in the past.’ Despite the fact that historical and archaeological remains in India are often central to political contestation, the structures and objects studied by archaeologists and art hi

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Woźny, Jacek. "Archeology as a Metaphor in Contemporary Culture." Qualitative Sociology Review 17, no. 1 (2021): 28–38. http://dx.doi.org/10.18778/1733-8077.17.1.3.

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The scientific discipline of archeology has gone through various stages of its development and improvement of research methods. First, it was combined with ancient history and the history of art. In the mid-nineteenth century, the base of its chronology was on biblical events. Modernist archeology of the twentieth century focused on classifying monuments and reconstructing cultural processes. In the second half of the twentieth century, archeology inspired other disciplines of culture and science to “stratigraphically” look at their own history. In this way, the stratification of scientific th

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Brisman, Shira. "The Madness of Hugo van der Goes: The Troubled Search for Origins in Early Netherlandish Painting." Journal of Medieval and Early Modern Studies 51, no. 2 (2021): 321–65. http://dx.doi.org/10.1215/10829636-8929080.

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The extant works of Hugo van der Goes frustrated attempts among early historians of Netherlandish painting to organize the artist's career according to a chronology. The survival of a biographical document attesting to his madness additionally troubled the expectation of artistic progression. Goes earned the reputation of the first modern artist whose genius was connected to his aberrant psychology. This essay critically examines the impulse in art history toward temporal sequencing, arguing that such a practice is most profitably applied in the case of Goes not to his oeuvre as a whole but to

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Matarazzo, Maria Gabriella. "ultima opera di Malvasia: 'Il Claustro di S. Michele in Bosco' e la decorazione carraccesca tra finzione e verità." Acta ad archaeologiam et artium historiam pertinentia 32, no. 18 N.S. (2021): 29–58. http://dx.doi.org/10.5617/acta.9018.

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The Carracci's decorative vocabulary (from the early Bolognese friezes to the cycles of the Farnese Gallery in Rome and of the Cloister of San Michele in Bosco in Bologna) made extensive use of anthropomorphic supports, especially telamons and terms. Painted with a monochromatic technique, they deceived the beholder for their effective imitation of marble sculptures that illusively jut from the surface of the wall. While art historical scholarship mainly discussed them in regard to their chronology, attribution, iconography and their relationship with the Cinquecento decoration systems, their

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Henige, David. "Double, Double, Toil, and Trouble: the Ergonomics of African History." History in Africa 34 (2007): 103–20. http://dx.doi.org/10.1353/hia.2007.0006.

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The longtime-accepted equation of Xian with the Siamese kingdom of Suhkothai having been discarded now …Knowledge and speculation would appear to have been confused.”“Considering the enormous output … of theories concerning the Assyrian kings and their chronology—by far the greater art of which has proved untenable in the light of later discoveries and most of which, as we can see now, might well havebeen avoided by refraining from premature speculation …As I was growing up—when the automobile was becoming a standard accoutrement—two large car parks were in the downtown area of the city where

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Karagodin, Andrey Vasil'evich, and Mariya Mikhailovna Petrova. "Novyi Mishor – first country-style resort on the South Coast of Crimea (1898-1920): reconstruction of sociocultural history." Человек и культура, no. 4 (April 2020): 103–27. http://dx.doi.org/10.25136/2409-8744.2020.4.32969.

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The subject of this research is the history of the first of country-style resort appeared on the South Coast of Crimea at the turn of the XIX &ndash; XX centuries on the lands of country estates of New Mishor belonged to Shuvalov-Dolgorukov family. The phenomenon of country-style construction on the South Coast of Crimes, which starting point was the foundation of the Novyi Mishor, is viewed in the context of the processes of economic and sociocultural modernization of Russian society, formation of self-identification mechanisms of the emerging &ldquo;middle class&rdquo;, and new u

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Ziemba, Antoni. "Mistrzowie dawni. Szkic do dziejów dziewiętnastowiecznego pojęcia." Porta Aurea, no. 19 (December 22, 2020): 35–56. http://dx.doi.org/10.26881/porta.2020.19.01.

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In the first half of the 19th century in literature on art the term ‘Old Masters’ was disseminated (Alte Meister, maître ancienns, etc.), this in relation to the concept of New Masters. However, contrary to the widespread view, it did not result from the name institutionalization of public museums (in Munich the name Alte Pinakothek was given in 1853, while in Dresden the Gemäldegalerie Alte Meister was given its name only after 1956). Both names, however, feature in collection catalogues, books, articles, press reports, as well as tourist guides. The term ‘Old Masters’ with reference to the a

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Gupta, Archita. "Re-‘Writing’ and Reconstructing History of Tripura through Image-Text-Culture Representation: An Analysis of Comicbook Senapati Ray Kachag." IRA International Journal of Education and Multidisciplinary Studies (ISSN 2455-2526) 8, no. 1 (2017): 44. http://dx.doi.org/10.21013/jems.v8.n1.p6.

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This paper attempts to analyze comic book Senapati Ray Kachag based on the fifteenth century chivalrous Reang General of King Dhanyamanikya, as a comprehensive document recording Tripura’s historical and geographical facts, history of art and culture through image and text. It presents a non-conventional and non- canonical history of Tripura. In the course of this paper attempts will also be made to explore the populist appeal of visual texts evidenced by the existing academic pedagogy of comprehending History through story boards. In comic book mould the historical legend of Tripura, Ray Kach

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Hashim, Mohd Haizra, Abdul Mu’ati Zamri Ahmad, Muhammad Pauzi Abdul Latif, and Mohd Yazid Mohd Yunos. "VISUAL COMMUNICATION OF THE TRADITIONAL HOUSE IN NEGERI SEMBILAN." Humanities & Social Sciences Reviews 5, no. 2 (2017): 112. http://dx.doi.org/10.18510/hssr.2017.527.

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Visual communication in architecture is a genuine aspiration in realizing the relationship between the Malays and other communities. The composition of the models in this communication is very well organized and will remain relevant to be developed from time to time. It is an observation on the symbols, types of motifs and design aspects of the carvings, also the structural elements in the Malay architecture of Negeri Sembilan.This also comprises the study of the chronology of the early history of the Malay architecture of Negeri Sembilan which has its linkages with the Islamic art. Emphasis i

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Hashim, Mohd Haizra, Abdul Mu’ati Zamri Ahmad, Muhammad Pauzi Abdul Latif, and Mohd Yazid Mohd Yunos. "VISUAL COMMUNICATION OF THE TRADITIONAL HOUSE IN NEGERI SEMBILAN." Humanities & Social Sciences Reviews 5, no. 2 (2018): 112–23. http://dx.doi.org/10.18510/hssr.2018.527a.

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Visual communication in architecture is a genuine aspiration in realizing the relationship between the Malays and other communities. The composition of the models in this communication is very well organized and will remain relevant to be developed from time to time. It is an observation on the symbols, types of motifs and design aspects of the carvings, also the structural elements in the Malay architecture of Negeri Sembilan. This also comprises the study of the chronology of the early history of the Malay architecture of Negeri Sembilan which has its linkages with the Islamic art. Emp

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Dabrowski, Patrice M. "Hutsul Art or “Hutsul Art”?" Canadian-American Slavic Studies 50, no. 3 (2016): 313–31. http://dx.doi.org/10.1163/22102396-05003003.

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This article is concerned with the fate of the Hutsul kilim and, by extension, Polish-Ukrainian relations in the interwar period. This was a period when the Hutsul highlanders of the Eastern Carpathians (today citizens of modern Ukraine), the traditional weavers of these geometrically-patterned woolen rugs, found themselves within the newly established Second Polish Republic. Most commercial weaving was in Jewish hands at this time, and this production was far inferior to that done by Hutsuls themselves, primarily for their own domestic use. The decline of the Hutsul kilim was arrested by a Uk

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Gaifman, Milette, and Lillian Lan-Ying Tseng. "Art and Time." Art Bulletin 103, no. 1 (2021): 6. http://dx.doi.org/10.1080/00043079.2021.1840256.

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Vastokas, Joan M. "Native Art as Art History: Meaning and Time from Unwritten Sources." Journal of Canadian Studies 21, no. 4 (1987): 7–36. http://dx.doi.org/10.3138/jcs.21.4.7.

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Miller, Carol L. "The Effects of Art History-Enriched Art Therapy on Anxiety, Time on Task, and Art Product Quality." Art Therapy 10, no. 4 (1993): 194–200. http://dx.doi.org/10.1080/07421656.1993.10759013.

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Zelić, Danko. "O Gradskoj loži u Šibeniku." Ars Adriatica, no. 4 (January 1, 2014): 299. http://dx.doi.org/10.15291/ars.502.

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The municipal loggia in Šibenik was built between 1534 and 1547 as a replacement for the old loggia which had been constructed in the early fourteenth century as more modest building. The new loggia was a two-storied structure built on an elongated rectangular ground plan with an arcaded portico on the ground floor and an open colonnade on the first floor which stretched along the entire north side of the main town square. There, it faced the north side of Šibenik Cathedral and, therefore, helped shape an architectural setting which, compared to the public spaces in other Dalmatian towns, coul

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Lola, Galina N., and Tatiana I. Aleksandrova. "Time Code in Modern Art: Discoursive Analysis of Temporal Art-Projects." Vestnik of Saint Petersburg University. Arts 11, no. 1 (2021): 150–66. http://dx.doi.org/10.21638/spbu15.2021.109.

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The article explores the influence of the concept of time on modern art practices, as well as the impact of digital media on the ability of art to anticipate the future. The methodology of discourse analysis is used as a tool to reveal temporal characteristics and the communicative potential of relevant art projects. The digital age creates a simultaneous world in which one can perceive the future by being deeply involved in the present moment. Contemporary artists have the ability to grasp changes hidden from the majority, and to formalize them in works of art. The simultaneous perception of

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Symonenko, A. V. "ESSAY ON THE SARMATIAN STUDIES IN UKRAINE." Archaeology and Early History of Ukraine 31, no. 2 (2019): 171–82. http://dx.doi.org/10.37445/adiu.2019.02.14.

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The steppe and part of the forest-steppe of modern Ukraine since the 2nd century BC till the 4th century AD were the place of residence of the numerous Sarmatian tribes. The Sarmatian studies are one of the actual research fields of Ukrainian and foreign archaeologists. The article analyses the study of Sarmatian culture of North Pontic region since the time of the first finds of Sarmatian sites untill the present. The author proposes to survey the development of Ukrainian Sarmatian studies in two directions: field exploration and the theoretical interpretation of archaeological material

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Hurley, Cecilia. "The art of compilation: the birth of systematic bibliography in art history." Art Libraries Journal 30, no. 2 (2005): 17–21. http://dx.doi.org/10.1017/s0307472200013912.

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Few of us could imagine undertaking any form of research without using one of the many bibliographies, library catalogues or databases which are now available. It is hard to imagine a time without them, and yet for art historians the first large-scale bibliographies in art history only appeared fewer than 150 years ago. This paper examines examples of two such works and contrasts differing visions of an art history bibliography.

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Greenfield, Gary, and Penousal Machado. "Ant- and Ant-Colony-Inspired ALife Visual Art." Artificial Life 21, no. 3 (2015): 293–306. http://dx.doi.org/10.1162/artl_a_00170.

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Ant- and ant-colony-inspired ALife art is characterized by the artistic exploration of the emerging collective behavior of computational agents, developed using ants as a metaphor. We present a chronology that documents the emergence and history of such visual art, contextualize ant- and ant-colony-inspired art within generative art practices, and consider how it relates to other ALife art. We survey many of the algorithms that artists have used in this genre, address some of their aims, and explore the relationships between ant- and ant-colony-inspired art and research on ant and ant colony b

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Kennedy, Janet, Ernst Neizvestny, and Albert Leons. "Space, Time, and Synthesis in Art: Essays on Art, Literature, and Philosophy." Russian Review 51, no. 3 (1992): 433. http://dx.doi.org/10.2307/131128.

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Bogart, Michele H. "Artistic Ideals and Commercial Practices: The Problem of Status for American Illustrators." Prospects 15 (October 1990): 225–81. http://dx.doi.org/10.1017/s0361233300005913.

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American illustration occupies an anomalous position in art history. Its proponents celebrate its brief but glorious history, a “Golden Age”, lasting roughly from 1880 to 1930. It is a history with a definite, limited chronology, determined by issues of quality and stylistic development and focused on the achievements of a few individuals. Others, however, regard American illustration as a minor episode in the history of art; many consider it to be beneath consideration as serious art. Yet there has been little analysis of why American illustration is considered so marginal or of why to this d

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Robb, John. "Prehistoric Art in Europe: A Deep-Time Social History." American Antiquity 80, no. 4 (2015): 635–54. http://dx.doi.org/10.7183/0002-7316.80.4.635.

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Although many researchers have studied prehistoric European artthere has been virtually no attention paid to the broad prehistory of art as a specialized form of material culture: virtually all studies focus narrowly on single bodies of art. This paper presents a new approach to analyzing prehistoric art: quantitative deep time study. It analyzes a database of 211 art traditions from across Europe and from 40,000 B.C. to 0 AD.to identify changes in the amountnatureand use of prehistoric art. The results reveal clear long-term trends. The amount of art made increased sharply with the origins of

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Horn, Christian, and Rich Potter. "Transforming the Rocks – Time and Rock Art in Bohuslän, Sweden." European Journal of Archaeology 21, no. 3 (2017): 361–84. http://dx.doi.org/10.1017/eaa.2017.38.

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Human representations are one of the most important groups of depictions in rock art in southern Scandinavia. These humans have long been discussed as complete, stable, and temporally-fixed images. The results of a new survey challenge this view. Recording rock art with Reflectance Transformation Imaging (RTI) enabled us to discern a possible sequence of production of individual human representations, their bodily features, and associated objects. Figures from a rock art site in Finntorp (Tanum, Sweden) will be used as an example. Differences in the dimensions of the engraved lines, the chrono

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Alexander, Isabella. "White Law, Black Art." International Journal of Cultural Property 10, no. 2 (2001): 185–216. http://dx.doi.org/10.1017/s0940739101771305.

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This article examines the issues surrounding the appropriation of indigenous culture, in particular art. It discusses the nature and context of Aboriginal and Torres Strait Islander art in Australia in order to establish why appropriation and reproduction are important issues. The article outlines some of the ways in which the Australian legal system has attempted to address the problem and looks at the recent introduction of the Label of Authenticity. At the same time, the article places these issues in the context of indigenous self-determination and examines the problematic use of such conc

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Wade, Nicholas J. "On Stereoscopic Art." i-Perception 12, no. 3 (2021): 204166952110071. http://dx.doi.org/10.1177/20416695211007146.

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Pictorial art is typically viewed with two eyes, but it is not binocular in the sense that it requires two eyes to appreciate the art. Two-dimensional representational art works allude to depth that they do not contain, and a variety of stratagems is enlisted to convey the impression that surfaces on the picture plane are at different distances from the viewer. With the invention of the stereoscope by Wheatstone in the 1830s, it was possible to produce two pictures with defined horizontal disparities between them to create a novel impression of depth. Stereoscopy and photography were made publ

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Odenstedt, Anders. "Art and History in Gadamer's Hermeneutics." Phänomenologische Forschungen 2007, no. 1 (2007): 75–94. http://dx.doi.org/10.28937/1000107936.

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This paper discusses Hans-Georg Gadamer’s account of what he sees as a major change in the approach to the Western philosophical and aesthetic traditions that began in the second half of the eighteenth century, and the results of this change today. According to Gadamer, these traditions ceased to be binding at this time and became objects of historical research. Instead of being seen even as potential sources of insight, traditional knowledge claims and works of art were subjected to historical and aesthetic analysis. And Gadamer holds that these approaches have partially come to encompass the

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Lai, Linda Chiu-han. "Algorithmic Art: Shuffling Space and Time." Transfers 9, no. 2 (2019): 112–18. http://dx.doi.org/10.3167/trans.2019.090208.

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Why are art-science dialogues important, and how should they take place? How do our everyday culture and institutional constructs define and delimit such possibilities? Why do contemporary art lovers still presume they are immune to and from scientific knowledge? How should a visitor of a media art event make sense of the machine work? Algorithmic Art: Shuffling Space & Time (AA) directed these questions to technical experts, artists, art lovers, and the public through a series of themed discussions and a six-hundred-square-meter indoor playground of machines and computational installation

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Finkelstein, E. Sh. "The History of Moscow’s Art Life." Studies in Theory of Literary Plot and Narratology 15, no. 2 (2020): 596–607. http://dx.doi.org/10.25205/2410-7883-2020-2-596-607.

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Evgeny Finkelstein’s memoirs are dedicated to the Moscow artistic life of the 1980s through 2000s. They are focused on a close-knit community of art collectors and art connoisseurs, especially on Nikolai Khardzhiev and his wife Lydia Chaga. Finkelstein, who is not a professional art critic, had an advantage to capture the specifics of this community’s idiosyncrasies with the inquisitiveness of a natural scientist. He also notes a major role in these relations, played by Khardzhiev, a major specialist in the Russian avant-garde, and Chaga, an expert on Russian graphics of the 20 th Century and

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Smith, Terry. "An Introduction to Nicos Hadjinicolaou's “Art Centers and Peripheral Art” (1982)." ARTMargins 9, no. 2 (2020): 112–18. http://dx.doi.org/10.1162/artm_a_00266.

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Change in the history of art has many causes, but one often overlooked by art historical institutions is the complex, unequal set of relationships that subsist between art centers and peripheries. These take many forms, from powerful penetration of peripheral art by the subjects, styles and modes of the relevant center, through accommodation to this penetration to various degrees and kinds of resistance to it. Mapping these relationships should be a major task for art historians, especially those committed to tracing the reception of works of art and the dissemination of ideas about art. This

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Small, Jocelyn Penny. "Time in Space: Narrative in Classical Art." Art Bulletin 81, no. 4 (1999): 562. http://dx.doi.org/10.2307/3051334.

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Silver, Larry, and Susan Donahue Kuretsky. "Time and Transformation in Seventeenth-Century Dutch Art." Sixteenth Century Journal 37, no. 3 (2006): 934. http://dx.doi.org/10.2307/20478103.

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Fawcett, Trevor. "Art reproductions and authenticity." Art Libraries Journal 22, no. 2 (1997): 20–25. http://dx.doi.org/10.1017/s0307472200010385.

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Whatever their format, reproductions provide illusory experiences of art, but may count as ‘authentic’ if adequate to their purpose and the technical possibilities and expectations of their time. A reproduction seizes the original at one moment in its history, a fact that should be made clear in its captioning. Engraved and other graphic reproductions, being hand-made, were always subjective and idealising. The camera brought greater objectivity, but even modern colour photographs interpret and mislead. The digital image offers still greater potential for exact realisation of, and access to, w

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Eula, Michael J., and Peter N. Carroll. "Keeping Time: Memory, Nostalgia, and the Art of History." History Teacher 26, no. 1 (1992): 125. http://dx.doi.org/10.2307/494107.

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Frisch, Michael, and Peter N. Carroll. "Keeping Time: Memory, Nostalgia, and the Art of History." Journal of American History 78, no. 1 (1991): 279. http://dx.doi.org/10.2307/2078106.

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Hayden, Hans. "Transition Points: Notes on the Interplay between Art and Art History in the Time of Visual Culture." Konsthistorisk Tidskrift/Journal of Art History 76, no. 1-2 (2007): 78–91. http://dx.doi.org/10.1080/00233600701349777.

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Hao, Qiang. "The Modern History of England in Art." Review of Educational Theory 3, no. 4 (2020): 40. http://dx.doi.org/10.30564/ret.v3i4.2372.

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Images are the key for us to sort out modern British history and study the development of early industrial civilization. This paper takes the most classic representative works of those immortal artists in the long river of British art to create a section of immortal history, and review the historical fragments of modern Britain from the painting brush of art masters, and intuitively feel the historical customs, dress etiquette and natural scenery of Britain at that time.

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Olin, Margaret. "Jewish Art and Our National Past Time." IMAGES 3, no. 1 (2009): 83–101. http://dx.doi.org/10.1163/187180010x500225.

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Lee, Byunghwee, Min Kyung Seo, Daniel Kim, et al. "Dissecting landscape art history with information theory." Proceedings of the National Academy of Sciences 117, no. 43 (2020): 26580–90. http://dx.doi.org/10.1073/pnas.2011927117.

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Painting has played a major role in human expression, evolving subject to a complex interplay of representational conventions, social interactions, and a process of historization. From individual qualitative work of art historians emerges a metanarrative that remains difficult to evaluate in its validity regarding emergent macroscopic and underlying microscopic dynamics. The full scope of granular data, the summary statistics, and consequently, also their bias simply lie beyond the cognitive limit of individual qualitative human scholarship. Yet, a more quantitative understanding is still lack

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Duffy, J. H. "Bonnard, the Work of Art: Suspending Time." French Studies 61, no. 4 (2007): 540–41. http://dx.doi.org/10.1093/fs/knm149.

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Wouk, Edward. "Picturing Art History in Eighteenth-Century Britain." Bulletin of the John Rylands Library 95, no. 2 (2019): 83–113. http://dx.doi.org/10.7227/bjrl.95.2.5.

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Rylands English MS 60, compiled for the Spencer family in the eighteenth century, contains 130 printed portraits of early modern artists gathered from diverse sources and mounted in two albums: 76 portraits in the first volume, which is devoted to northern European artists, and 54 in the second volume, containing Italian and French painters. Both albums of this ‘Collection of Engravings of Portraits of Painters’ were initially planned to include a written biography of each artist copied from the few sources available in English at the time, but that part of the project was abandoned. This arti

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Lo Muzio, Ciro. "Gandharan Toilet-Trays: Some Reflections on Chronology." Ancient Civilizations from Scythia to Siberia 17, no. 2 (2011): 331–40. http://dx.doi.org/10.1163/157005711x595167.

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Abstract A thorough investigation on Gandharan toilet-trays, taking into consideration archaeological, social and religious data along with iconographic, stylistic and technical issues, is still to be done. The following notes are mainly aimed at suggesting a new perspective in the chronology of these fascinating finds, which, according to an apparently unshakable assumption, have been and are still considered as a bridge linking the Hellenistic (i.e. Greco-Bactrian and Indo-Greek) period and the threshold of the Kushan epoch. Toilet-trays are commonly thought of as a pre-Gandharan (and pre-Bu

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