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1
Online Resource
Online Resource
Glasgow : Institute for Art History, Univ. of Glasgow ; 1.2009,Dez. -
UID:
b3kat_BV035944348
Format: Online-Ressource
ISSN: 2042-4752
Note: Gesehen am 01.04.11
Language: English
Keywords: Zeitschrift
URL: Volltext  (kostenfrei)
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Associated Volumes
  • 2
    UID:
    b3kat_BV039932674
    Format: 1 Online-Ressource (89 S.) , tables in seperate pdf-document
    In: Journal of art historiography, Glasgow, 2011, 5.2011. - 89, 20 S.
    Language: English
    Keywords: Kunstgeschichte ; Toelken, Ernst Heinrich 1785-1869 ; Hotho, Heinrich Gustav 1802-1873 ; Kugler, Franz 1808-1858
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  • 3
    UID:
    b3kat_BV049525064
    Format: 1 Online-Ressource (27 Seiten) , Illustrationen
    ISSN: 2042-4752
    Content: This essay analyses the concept of ‘ill-defined area’ that Ernst Gombrich (1909–2001) coined in Art & Illusion: A Study in the Psychology of Pictorial Representation (1960). Gombrich’s insights, seen in light of recent advances in the fields of experimental psychology and cognitive neuroscience, open up new perspectives in the study of images: the biological implications of image perception. Under examination are two specific types of images: partially visible figures and unfinished works of art, that is, open-ended images that distinguish themselves in their inclusion of a significant absence (hence, ‘ill-defined area’), suggested by incomplete forms. These images offer important indications about the role that the beholder’s imagination plays in aesthetic response. In addressing this issue, this study focuses on the representation of human figures that either have features covered or no faces. In the second case, Gombrich talks about the ‘egg shape formula’, and tackles the way beholders perceive it. Considering the neuroscientific research on face perception and filling-in, this paper explores the neural process through which beholders may complete in their minds the blank spaces present in incomplete figures. My argument is that it is possible to find the neural underpinning of imagination, which is at the base of the aesthetic experience of beholders when perceiving figures that are not entirely visible.
    In: number:29
    In: year:2023
    In: Journal of art historiography, Glasgow, 2023, Heft 29 (2023), Supplement 2, 2042-4752
    Language: English
    URL: Volltext  (kostenfrei)
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  • 4
    UID:
    b3kat_BV049528267
    Format: 1 Online-Ressource (10 Seiten) , Illustrationen
    ISSN: 2042-4752
    Content: Helena Blum (1904–84) was one of the most influential Polish art historians, working both as a curator at the National Museum in Cracow and as a researcher at the Institute of Art History at the University of Wrocław. In 1922, she began studying art history and archeology at the University in Lviv. Ten years later, Blum received his doctorate from this university. This was the first dissertation on modern art in Poland. In the 1930s she also studied in France. Blum was one of the key figures in Polish art history after the Second World War. Although she never became director of the National Museum in Kraków, as curator she built up the collection of Polish art in that museum, which was very much influenced by her own taste. Her distinctive curatorial strategies and art criticism influenced the so-called canon of Polish art from 1800 to 1970.
    In: number:29
    In: year:2023
    In: Journal of art historiography, Glasgow, 2023, Heft 29 (2023), Supplement 1, 2042-4752
    Language: English
    URL: Volltext  (kostenfrei)
    Author information: Smolińska, Marta 1975-
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  • 5
    UID:
    b3kat_BV048956701
    Format: 1 Online-Ressource (4 Seiten)
    ISSN: 2042-4752
    Content: While I was working on the evolution of Austrian Gothic panel painting, I realized that the whole material could be sorted into multiple genealogies, each of which corresponded to a particular (regional) mode of production, and that within these different genealogies there was always one constant factor. This constant factor wasn’t something that could be defined by identifying certain homogeneous, regularly or frequently recurring forms. It wouldn’t do either to characterize this constant factor as a specific attitude towards a particular contemporary style or as a particular mode or point of view, the term ‘constant factor’ also implies a constant reflected in the object that is being made. Of course, we are not talking about something that remains the same externally. Rather, one has to imagine a kind of shared ideal, present to the different artists in a variety of vague formulae, which more or less explicitly guides the process of creation and appears, through a constant flux of viewpoints, in ever new guises but in fact remains the same and has to appear differently (and filled with new content) only because, like any ideal conception, it is only roughly approximated in each particular act of creation, so that some unfulfilled demand always remains, which then serves as an incentive for new developments.
    Note: "Letter from Otto Pächt to Meyer Schapiro concerning ‘national constants’ (1934) trans. Christoph Irmscher. Originally published in its original German with English translation by Christoph Irmscher in Karl Johns, ‘Austrian Art-Historical Method in the United States: Meyer Schapiro and Emil Kaufmann’, Ideas Crossing the Atlantic: Theories, Normative Conceptions and Cultural Images ed. Waldemar Zacharasiewicz and Christoph Irmscher, Sitzungsberichte der philosophisch-historischen Klasse, Vienna: Austrian Academy of Sciences Press, 2019, pp. 385-412"
    In: number:27
    In: year:2022
    In: Journal of art historiography, Glasgow, 2022, Heft 27 (2022), 2042-4752
    Language: English
    Keywords: Brief
    URL: Volltext  (kostenfrei)
    Author information: Pächt, Otto 1902-1988
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  • 6
    UID:
    b3kat_BV046316973
    Format: 1 Online-Ressource (23 Seiten) , Illustration
    ISSN: 2042-4752
    In: Journal of art historiography, Glasgow, 2019, Number 21 (December 2019), 2042-4752
    Language: English
    Keywords: Indianapolis Museum of Art ; Ausstellung ; Besucher ; Interaktion ; Geschichte 2006
    URL: Volltext  (kostenfrei)
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