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Principles of art history; the problem of the development of style in later art.

著者: Heinrich Wölfflin
出版商: [New York] Dover Publications [194-?]
版本/格式:   Print book : 英语查看所有的版本和格式
数据库:WorldCat
提要:
What are the fundamental differences between classic and baroque art? Is there a pattern underlying the seemingly helter-skelter development of art in different cultures and at different times? What causes our entirely different reactions to precisely the same painting or to the same painter? In this now-classic treatise, published originally in Germany in the early 1920s, Professor Wölfflin provides an objective  再读一些...
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详细书目

类型/形式: History
附加的形体格式: Online version:
Wölfflin, Heinrich, 1864-1945.
Principles of art history.
[New York] Dover Publications [194-?]
(OCoLC)647041216
文件类型:
所有的著者/提供者: Heinrich Wölfflin
OCLC号码: 190936
描述: xvi, 237 pages illustrations 24 cm
内容: Introduction : The double root of style --
The most general representational forms --
Imitation and decoration --
Linear and painterly : General --
Drawing --
Painting --
Sculpture --
Architecture --
Plane and recession : Painting --
Sculpture --
Architecture --
Closed and open form : Painting --
Sculpture --
Architecture --
Multiplicity and unity : Painting --
Architecture --
Clearness and unclearness : Painting --
Architecture --
Conclusion : External and internal history of art --
Forms of imitation nad decoration --
The why of development --
Periodicity of the development --
The problem of recommencement --
National characteristics --
Shifting the centre of gravity.
其他题名: Kunstgeschichtliche Grundbegriffe.
责任: Translated by M.D. Hottinger.

摘要:

What are the fundamental differences between classic and baroque art? Is there a pattern underlying the seemingly helter-skelter development of art in different cultures and at different times? What causes our entirely different reactions to precisely the same painting or to the same painter? In this now-classic treatise, published originally in Germany in the early 1920s, Professor Wölfflin provides an objective set of criteria to answer these and related questions. Examining such factors as style, quality, and mode of representation in terms of five opposed dynamisms (the linear vs. painterly, plane vs. recession, closed vs. open form, multiplicity vs. unity, and clearness vs. unclearness), the author analyzes the work of 64 major artists, delving even into sculpture and architecture. 150 illustrations of the work of Botticelli, van Cleve, Durer, Holbein, Brueghel, Bouts, Hals, Rembrandt, Velasquez, Titian, Vermeer, and other major figures accompany Professor Wölfflin's brilliant contributions to the methodology of art criticism. Whether you teach art, study it, or want to understand it purely for your own enjoyment, this epoch-making study will certainly increase your comprehension of and pleasure in the world's art heritage.

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