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Art History's History, by Vernon Hyde Minor
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Written in jargon-free, reader-friendly language, this is one of the first volumes to make art historical theory accessible to those at the introductory level. A review of contemporary theory of art history provides readers with lucid prose and concrete examples. Discussion of eighteenth- and nineteenth- century theories that are important to art history offers readers a review of historically important issues in philosophy. Illustrations of well-known works of art show readers how theory has application to images. Art historians and educators.
- Sales Rank: #477731 in Books
- Published on: 2000-07-27
- Original language: English
- Number of items: 1
- Dimensions: 9.00" h x .50" w x 6.00" l, .64 pounds
- Binding: Paperback
- 228 pages
From the Publisher
Written in jargon-free, reader-friendly language, this is one of the first volumes to make art historical theory accessible to those at the introductory level.
From the Back Cover
Written in jargon-free, reader-friendly language, this is one of the first volumes to make art historical theory accessible to those at the introductory level. A review of contemporary theory of art history provides readers with lucid prose and concrete examples. Discussion of eighteenth- and nineteenth- century theories that are important to art history offers readers a review of historically important issues in philosophy. Illustrations of well-known works of art show readers how theory has application to images. Art historians and educators.
About the Author
VERNON HYDE MINOR was the first to recognize and respond to the growing need for art historical theory made accessible at the introductory level, offering a reader-friendly introduction to historical writings about art history, including contemporary theory, and providing background on aesthetics to demonstrate that art history arises from general philosophical questions.
Now in this second edition of his work, the author has expanded his survey to include the American critic Clement Greenberg, developed his treatment of New Art History and Visual Culture, and added a special essay on the learned art historian Erwin Panofsky and his contribution to Iconography and Iconology. Minor then considers the concepts of influence, originality, and greatness.
Most helpful customer reviews
1 of 1 people found the following review helpful.
Poor Methodology
By HRH
Poor methodology for art historians. Minor, invites the historian to be a personal critique, rather than relay facts objectively as a historian. The author seems to forget his place; that history is not for the historian to claim. Rather, reverently follow the masterpieces in art, while recognizing the serious consequences of altering the hard work and intention of ancient masters.
4 of 4 people found the following review helpful.
Great book for beginning Art Histroy Graduate students.
By Eli Hernandez, Jr
This book was required reading for my graduate Research Methods and Writing course. We used it in conjunction with Donald Preziosi's the Art of Art History. The combination of the two books is a great resource for anyone entering their MA in Art History. Art History's History is a helpful overall review of the different time periods. It is a good resource for reader-friendly art historical writings.
8 of 13 people found the following review helpful.
reductive, but still very useful
By A Customer
Minor has undertaken the impossible. Any historiography that is limited to 200 pages will undoubtedly be overly reductive. However, this does not entirely discredit Minor's work. While one may take issue with him in a number of places (particularly his chapter on feminism) he provides a generally well-balanced, user-friendly introduction to theories of modern scholarship. Minor is very cognizant of his own fallibility. He recognizes that his sketches of modern methodologies are inadequate. But he provides the necessary background for anyone who wishes to understand the state of contemporary art history.
At the conclusion of this book the reader is left unsatisfied. Yet I think that this may have been Minor's intent (I realize I am being a terrible deconstructionist). His aim, rather, seems to be to ignite an interest in students of art history, that they might, of their own volition, continue their study of art historical methodologies. If this is indeed Minor's aim, he succeeds.
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