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Journal articles on the topic 'Historical art'

Author: Grafiati
Published: 4 June 2021
Last updated: 2 February 2022

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1

Davis, Whitney, and Michael Kelly. "Historical and Art-Historical Coverage." Journal of Aesthetics and Art Criticism 58, no. 3 (2000): 295. http://dx.doi.org/10.2307/432113.

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2

Goldman, Alan H. "ART HISTORICAL VALUE." British Journal of Aesthetics 33, no. 1 (1993): 17–28. http://dx.doi.org/10.1093/bjaesthetics/33.1.17.

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3

Daudrich, Anna. "Algorithmic Art and Its Art-Historical Relationships." Journal of Science and Technology of the Arts 8, no. 1 (November 30, 2016): 37. http://dx.doi.org/10.7559/citarj.v8i1.220.

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4

Goldfarb, Doron, Max Arends, Josef Froschauer, and Dieter Merkl. "Comparing Art Historical Networks." Leonardo 46, no. 3 (June 2013): 279. http://dx.doi.org/10.1162/leon_a_00575.

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This work provides a comparison of link structures present in a common subset of art history related biographic person records/articles from the Getty Union List of Artist Names and English Wikipedia.
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5

Suyarkulovna, Toychieva Sayyora. "Historical-Scientific Schools Of Management Of Culture And Art." American Journal of Social Science and Education Innovations 02, no. 07 (July 30, 2020): 62–70. http://dx.doi.org/10.37547/tajssei/volume02issue07-06.

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6

Dixon, Diana. "Historical Dictionary of Contemporary Art." Reference Reviews 32, no. 1 (January 15, 2018): 26–27. http://dx.doi.org/10.1108/rr-08-2017-0182.

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7

De Clercq, Rafael. "The Historical Ontology of Art." Philosophical Quarterly 70, no. 279 (August 8, 2019): 268–81. http://dx.doi.org/10.1093/pq/pqz046.

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Abstract In this article, I argue that our ontology of art has undergone a major change in the course of modern history. While we currently think of artworks as parts arranged in a certain way, there was a time when artworks were thought of as metaphysically more akin to ordinary artefacts such as tables and chairs; that is, as wholes having replaceable parts. This change in our ontology of art is reflected in our approach to art restoration. But what explains the change? I will suggest that the change took place because of a change in our conception of the function of art. More specifically, I will suggest that we have started to think of artworks as parts arranged in a certain way, because we have started to think of artworks as having, primarily, an aesthetic function.
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8

Higgs, Robert, and Charles P. Kindleberger. "Historical Economics: Art or Science?" Journal of Interdisciplinary History 23, no. 1 (1992): 138. http://dx.doi.org/10.2307/205489.

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9

Hanson, Steve. "Art theory – an historical introduction." Visual Studies 25, no. 2 (September 3, 2010): 192–93. http://dx.doi.org/10.1080/14725861003607199.

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10

FLETCHER, J. M. "Dating of art-historical artefacts." Nature 320, no. 6061 (April 1986): 466. http://dx.doi.org/10.1038/320466a0.

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11

Haldane, John. "ART THEORY: AN HISTORICAL INTRODUCTION." Art Book 12, no. 3 (August 2005): 31–32. http://dx.doi.org/10.1111/j.1467-8357.2005.00565.x.

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12

Greslé, Yvette. "Foucault'sLas Meninasand art‐historical methods." Journal of Literary Studies 22, no. 3-4 (December 2006): 211–28. http://dx.doi.org/10.1080/02564710608530401.

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13

Fish, Barbara J. "Response Art in Art Therapy: Historical and Contemporary Overview." Art Therapy 36, no. 3 (July 3, 2019): 122–32. http://dx.doi.org/10.1080/07421656.2019.1648915.

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14

Clark, John. "Japanese Modern and Contemporary Art: An Art-Historical Field." Art History 41, no. 4 (September 2018): 766–71. http://dx.doi.org/10.1111/1467-8365.12393.

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15

Carney, James D. "A Historical Theory of Art Criticism." Journal of Aesthetic Education 28, no. 1 (1994): 13. http://dx.doi.org/10.2307/3333153.

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16

Stidham, Jennifer B. "Sources: Historical Dictionary of Renaissance Art." Reference & User Services Quarterly 47, no. 4 (June 1, 2008): 398–99. http://dx.doi.org/10.5860/rusq.47n4.398.2.

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17

Godlewska, Anne, and David Woodward. "Art and Cartography: Six Historical Essays." American Historical Review 94, no. 5 (December 1989): 1337. http://dx.doi.org/10.2307/1906361.

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18

Lázaro Pernias, Patrícia. "Poster and billboard art, historical witness." grafica 5, no. 9 (January 12, 2017): 57. http://dx.doi.org/10.5565/rev/grafica.64.

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19

Carrier, David. "The Era of Post-Historical Art." Leonardo 20, no. 3 (1987): 269. http://dx.doi.org/10.2307/1578172.

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20

Gabella, Marcy Singer. "The art(s) of historical sense." Journal of Curriculum Studies 27, no. 2 (March 1995): 139–63. http://dx.doi.org/10.1080/0022027950270202.

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21

MacEachren, Alan M., and David Woodward. "Art and Cartography: Six Historical Essays." Geographical Review 78, no. 4 (October 1988): 451. http://dx.doi.org/10.2307/215102.

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22

Qodirov, Behzod Bahodirovich. "HISTORICAL STAGES OF UZBEK ART FILMS." Theoretical & Applied Science 73, no. 05 (May 30, 2019): 453–56. http://dx.doi.org/10.15863/tas.2019.05.73.68.

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23

Galgano, Francis A. "Historical Perspectives of the Operational Art." History: Reviews of New Books 34, no. 2 (January 2006): 65. http://dx.doi.org/10.1080/03612759.2006.10526830.

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24

Stolnitz, Jerome. "ON THE HISTORICAL TRIVIALITY OF ART." British Journal of Aesthetics 31, no. 3 (1991): 195–202. http://dx.doi.org/10.1093/bjaesthetics/31.3.195.

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25

Wilson, Siona. "The Personal is the Art Historical." Parallax 17, no. 4 (November 2011): 127–29. http://dx.doi.org/10.1080/13534645.2011.605587.

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26

Bortolotti, Stephan Paul. "The Finagling Art of Historical Fiction." Linguistics and Literature Studies 3, no. 3 (May 2015): 111–19. http://dx.doi.org/10.13189/lls.2015.030305.

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27

Trafí-Prats, Laura. "Art Historical Appropriation in a Visual Culture-Based Art Education." Studies in Art Education 50, no. 2 (January 2009): 152–66. http://dx.doi.org/10.1080/00393541.2009.11518763.

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28

WILSON, DANIEL. "Can Levinson's Intentional-Historical Definition of Art Accommodate Revolutionary Art?" Journal of Aesthetics and Art Criticism 73, no. 4 (October 2015): 407–16. http://dx.doi.org/10.1111/jaac.12218.

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29

Zhang, Jun. "Commodifying art, Chinese style: The making of China’s visual art market." Environment and Planning A: Economy and Space 49, no. 9 (June 12, 2017): 2025–45. http://dx.doi.org/10.1177/0308518x17713993.

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The economic value of art to cities and regions has recently been vigorously pursued and actively studied. The rapid ascendance of China as a superpower in the global art market and associated transformation of China’s art space, however, are yet poorly understood. This paper develops a Polanyian framework to interpret the spatial and institutional evolution of China’s art market, seeing the (de)commodification of art as a cumulative process embedded in geo-historical interplays of triple logics—cultural, capital, and political, unfolding within, and reshaping in turn, historically inherited spatial structures.
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30

Lysen, Flora. "What to do with the “Most Modern” Artworks? Erwin Panofsky and the Art History of Contemporary Art." Contemporaneity: Historical Presence in Visual Culture 3 (June 5, 2014): 38–49. http://dx.doi.org/10.5195/contemp.2014.81.

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In the 1930s, when the world-renowned Medieval and Renaissance art scholar Erwin Panofsky became acquainted with the New York contemporary art scene, he was challenged with the most difficult dilemma for art historians. How could Panofsky, who was firmly entrenched in the kunstwissenschaftliche study of art, use his historical methods for the scholarly research of contemporary art? Can art historians deal with the art objects of their own time? This urgent and still current question of how to think about “contemporaneity” in relation to art history is the main topic of this paper, which departs from Panofsky’s 1934 review of a book on modern art. In his review of James Johnson Sweeny’s book Plastic Redirections in 20th Century Painting, Panofsky’s praise for Sweeney’s scholarly “distance” from contemporary art developments in Europe is backed by a claim for America’s cultural distance, rather than a (historical) removal in time. Taking a closer look at Panofsky’s conflation of historical/temporal distance with geographical/cultural distance, this paper demonstrates a politically situated discourse on contemporaneity, in which Panofsky proposes the act of writing about the contemporary as a redemptive act, albeit, as this paper will demonstrate, without being able to follow his own scientific method.
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31

Mamarajabov, Gayrat Abdulkhakimovich, and Fazliddin Jovlievich Izzatullaev. "HISTORICAL ANALYSIS OF THE ART OF EMBROIDERY IN THE UZBEK NATIONAL CRAFT." CURRENT RESEARCH JOURNAL OF HISTORY 02, no. 06 (June 28, 2021): 53–57. http://dx.doi.org/10.37547/history-crjh-02-06-12.

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The art of embroidery, embodied in the world famous masters of the Uzbek people and the national fabrics they create, with its brilliance, variety of colors, Islamic conditions has found its place in the world national art. Although our national embroidery has evolved over the centuries and is distinguished by beauty, diversity and regional differences, in turn, they complement each other. The word kashta comes from the Persian-Tajik language and means "kashida", which means to pull, sew. Embroidery is an important branch of the applied arts of the Surkhandarya oasis. Among the embroidery items of the population of the oasis are suzana, zardevor, borposh, sandalposh, jainamaz, lolabolish, belars (belt), kettle, bag for salt, bag for spoons, glass bag, brick, towels designed to cover beds.
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32

Hirstein, William. "Memories of Art." Behavioral and Brain Sciences 36, no. 2 (March 18, 2013): 146–47. http://dx.doi.org/10.1017/s0140525x12001665.

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AbstractAlthough the art-historical context of a work of art is important to our appreciation of it, it is our knowledge of that history that plays causal roles in producing the experience itself. This knowledge is in the form of memories, both semantic memories about the historical circumstances, but also episodic memories concerning our personal connections with an artwork. We also create representations of minds in order to understand the emotions that artworks express.
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33

Kinkley, Jonathan. "Art Thief: An Educational Computer Game Model for Art Historical Instruction." Leonardo 42, no. 2 (April 2009): 133–37. http://dx.doi.org/10.1162/leon.2009.42.2.133.

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Cognitive research has revealed learning techniques more effective than those utilized by the traditional art history lecture survey course. Informed by these insights, the author and fellow graduate researchers at the University of Illinois at Chicago designed a “serious” computer game demo, Art Thief, as a potential model for a learning tool that incorporates content from art history. The game design implements constructed learning, simulated cooperation and problem solving in a first-person, immersive, goal-oriented mystery set within a virtual art museum.
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34

Allen, Gwen L. "Art Periodicals and Contemporary Art Worlds (Part I): A Historical Exploration." ARTMargins 5, no. 3 (October 2016): 35–61. http://dx.doi.org/10.1162/artm_a_00157.

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This essay explores the role of art periodicals in art worlds past and present. It examines the histories of Artforum and October within the context of the North American art world of the 1960s and 1970, and contextualizes these publications within a larger field of publishing practices, including self-published Salon pamphlets, little magazines, and artists' periodicals. It explores how the distribution form of the periodical affects the politics of art criticism, and considers how art magazines have served as sites of critical publicity, mediating publics and counterpublics within the art world. It also reflects on the role of magazines and newer online media in the contemporary, globalized art world.
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35

Suzdaltsev, Yevgeny, Peter Khromenkov, Pavel Chistov, and Irina Pavelyeva. "Applying the war historical re-enactment method in teaching historical painting." E3S Web of Conferences 210 (2020): 18111. http://dx.doi.org/10.1051/e3sconf/202021018111.

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Being an artist is not enough to make a piece of historical art. This requires a study, the deliverables of which allow creating a scientifically reliable composition. To put it otherwise, an artwork brought into existence in such a way can be created on an interdisciplinary basis, and it is not until then that it becomes educational. A study used in the educational process considerably increases the degree of professional competence of students. The authors of this article, being professors at the Fine Arts and Folk Crafts Department, Moscow Region State University, have employed a range of research methods as the basic ones. These include war historical re-enactment, case review of its research and organization in modern social and cultural settings, modeling and forecasting deliverables of students‘ artistic activities when creating historical paintings, and the method of expert evaluation. In order to trial war historical re-enactment as an academic research method together with the Department‘s students, art and research project “Neuchatel‘s Battalion at the Battle of Wagram” has been launched across the curriculum. The project incorporates stages of joint research and artistic work of academicians and students. During the project, a mechanism of inter-knowledge interaction is formed in the minds of students, which allows students to acquire historical knowledge about the Neuchatel battalion, Battle of Wagram, uniforms worn during the Napoleonic Wars, and the work of battle painters. Based on the above, the students acquire metadisciplinary skills they employ to create themed art in terms of traditional battle paintings by Alexander Averyanov, Peter von Hess, and Louis-Francois Lejeune. We have summarized the experience of employing the war historical re-enactment method in teaching students historical painting. It is reflected in the study guide students use to study military garments worn in the early 19th century and create themed works of art. Its contents are recommended for both teachers and students studying art to create student artworks consistent with traditional battle paintings.
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36

Carroll, Noel. "Historical Narratives and the Philosophy of Art." Journal of Aesthetics and Art Criticism 51, no. 3 (1993): 313. http://dx.doi.org/10.2307/431506.

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37

Gruber, Donald D., and Jack A. Hobbs. "Historical Analysis of Assessment in Art Education." Art Education 55, no. 6 (November 2002): 12. http://dx.doi.org/10.2307/3193974.

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38

Mukhametzyanov, Rustem, Yulia Martynova, Dmitry Martynov, and Leysan Mingalieva. "Cultural and Historical Roots of Performance Art." Journal of History Culture and Art Research 7, no. 4 (November 30, 2018): 62. http://dx.doi.org/10.7596/taksad.v7i4.1816.

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39

Thị Huệ, Đoàn. "Fiction and art fiction in historical novel." Journal of Science, Social Science 62, no. 2 (2017): 27–33. http://dx.doi.org/10.18173/2354-1067.2017-0004.

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40

Budick, E. Miller. "The World as Specter: Hawthorne's Historical Art." PMLA 101, no. 2 (March 1986): 218. http://dx.doi.org/10.2307/462405.

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41

Borland, Jennifer. "Expanding the Archive: An Art Historical Perspective." Medieval Feminist Forum 40 (December 2005): 68–78. http://dx.doi.org/10.17077/1536-8742.1120.

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42

Tucker, Paul. "Evaluation in the art-historical research article." Journal of English for Academic Purposes 2, no. 4 (January 2003): 291–312. http://dx.doi.org/10.1016/s1475-1585(03)00047-x.

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43

Gossman, Lionel. "The Existenzbild In Burckhardt's Art Historical Writing." MLN 114, no. 5 (1999): 879–928. http://dx.doi.org/10.1353/mln.1999.0066.

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44

DEWDNEY, ANDREW. "Art, Photography and Technology: Continuing Historical Narratives." Journal of Art & Design Education 15, no. 1 (February 1996): 85–90. http://dx.doi.org/10.1111/j.1476-8070.1996.tb00651.x.

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45

Karaca, Banu. "Art, Dispossession, and Imaginations of Historical Justice." Critical Times 3, no. 2 (August 1, 2020): 224–48. http://dx.doi.org/10.1215/26410478-8517727.

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Abstract Drawing on the works of artists Maria Eichhorn (Berlin) and Dilek Winchester (Istanbul), this article focuses on artistic responses to the twin processes of violence and dispossession in Germany and the late Ottoman Empire and republican Turkey, respectively. Their artistic practices respond to what is irrecoverable in loss, in contrast to dominant discussions on material restitution as a process that always projects a reversibility of past injuries and that remains limited to the logic of possession. The article argues that these practices pose an aesthetic challenge to the conceptual frameworks within which both dispossession and restitution are usually understood. They produce forms of aesthetic redistribution that open paths to alternate ways of envisioning historical justice in transformative rather than recuperative terms.
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46

CARROLL, NOEL. "Historical Narratives and The Philosophy of Art." Journal of Aesthetics and Art Criticism 51, no. 3 (June 1, 1993): 313–26. http://dx.doi.org/10.1111/1540_6245.jaac51.3.0313.

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47

HERWITZ, DANIEL. "THE IDEA OF AN ART HISTORICAL SHAPE." English Studies in Africa 44, no. 1 (January 2001): 59–82. http://dx.doi.org/10.1080/00138390108691301.

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48

Carrier, David. "The Display of Art: An Historical Perspective." Leonardo 20, no. 1 (1987): 83. http://dx.doi.org/10.2307/1578216.

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49

Stecker, R. "ALIEN OBJECTIONS TO HISTORICAL DEFINITIONS OF ART." British Journal of Aesthetics 36, no. 3 (July 1, 1996): 305–8. http://dx.doi.org/10.1093/bjaesthetics/36.3.305.

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50

Currie, G. "A note on art and historical concepts." British Journal of Aesthetics 40, no. 1 (January 1, 2000): 186–90. http://dx.doi.org/10.1093/bjaesthetics/40.1.186.

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