Relevant bibliographies by topics / Art History and Appreciation

Academic literature on the topic 'Art History and Appreciation'

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Published: 4 June 2021
Last updated: 5 February 2022

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Journal articles on the topic "Art History and Appreciation"

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Berthoud, Luiza Esper. "Art History and Other Stories." ARS (São Paulo) 18, no. 38 (April 30, 2020): 197–217. http://dx.doi.org/10.11606/issn.2178-0447.ars.2020.162471.

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Through the analysis of one erroneous piece of art criticism, an essay by Goethe that re-imagines a lost ancient sculpture, I demonstrate the difficulty that the discipline of art history has with conceptualizing the experience of art making and how one ought to respond to it. I re-examine the relationship between art making and art appreciation informed by ideas such as the Aristotelian view of Poiesis, Iris Murdoch’s praise of art in an unreligious age, and Giorgio Agamben’s call for the unity between poetry and philosophy. I also argue that much of modern art criticism has forgotten Arts’ earlier conceptual vocation, and propose methods of appreciating art that are in themselves artistic.
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Gelman, Susan A., Meredith A. Meyer, and Nicholaus S. Noles. "History and essence in human cognition." Behavioral and Brain Sciences 36, no. 2 (March 18, 2013): 142–43. http://dx.doi.org/10.1017/s0140525x12001628.

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AbstractBullot & Reber (B&R) provide compelling evidence that sensitivity to context, history, and design stance are crucial to theories of art appreciation. We ask how these ideas relate to broader aspects of human cognition. Further open questions concern how psychological essentialism contributes to art appreciation and how essentialism regarding created artifacts (such as art) differs from essentialism in other domains.
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Chan, Ching-Chuan, and Cynthia Andreas. "Art Appreciation History and Technology: Bridging the Gap." International Journal of the Humanities: Annual Review 5, no. 6 (2007): 19–24. http://dx.doi.org/10.18848/1447-9508/cgp/v05i06/41402.

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Bullot, Nicolas J., and Rolf Reber. "The artful mind meets art history: Toward a psycho-historical framework for the science of art appreciation." Behavioral and Brain Sciences 36, no. 2 (March 18, 2013): 123–37. http://dx.doi.org/10.1017/s0140525x12000489.

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AbstractResearch seeking a scientific foundation for the theory of art appreciation has raised controversies at the intersection of the social and cognitive sciences. Though equally relevant to a scientific inquiry into art appreciation, psychological and historical approaches to art developed independently and lack a common core of theoretical principles. Historicists argue that psychological and brain sciences ignore the fact that artworks are artifacts produced and appreciated in the context of unique historical situations and artistic intentions. After revealing flaws in the psychological approach, we introduce a psycho-historical framework for the science of art appreciation. This framework demonstrates that a science of art appreciation must investigate how appreciators process causal and historical information to classify and explain their psychological responses to art. Expanding on research about the cognition of artifacts, we identify three modes of appreciation: basic exposure to an artwork, the artistic design stance, and artistic understanding. The artistic design stance, a requisite for artistic understanding, is an attitude whereby appreciators develop their sensitivity to art-historical contexts by means of inquiries into the making, authorship, and functions of artworks. We defend and illustrate the psycho-historical framework with an analysis of existing studies on art appreciation in empirical aesthetics. Finally, we argue that the fluency theory of aesthetic pleasure can be amended to meet the requirements of the framework. We conclude that scientists can tackle fundamental questions about the nature and appreciation of art within the psycho-historical framework.
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Eastmond, A. "Later Byzantine Painting: Art, Agency, and Appreciation." English Historical Review CXXIII, no. 503 (August 1, 2008): 1013–14. http://dx.doi.org/10.1093/ehr/cen232.

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Carroll, Noël. "History and the Philosophy of Art." Journal of the Philosophy of History 5, no. 3 (2011): 370–82. http://dx.doi.org/10.1163/187226311x599862.

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Abstract In this essay I trace the role of history in the philosophy of art from the early twentieth century to the present, beginning with the rejection of history by formalists like Clive Bell. I then attempt to show how the arguments of people like Morris Weitz and Arthur Danto led to a re-appreciation of history by philosophers of art such as Richard Wollheim, Jerrold Levinson, Robert Stecker and others.
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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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Bai, Hui. "The Exploration of Arnheim‘s Theory of Visual Perception in the Field of Art Appreciation and Review in Junior High School." Learning & Education 9, no. 2 (November 10, 2020): 139. http://dx.doi.org/10.18282/l-e.v9i2.1428.

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Rudolf Arnheim (German Rudolf Arnheim, 1904-2007) is a famous Gestalt psychologist and aesthetician in the history of western aesthetics. His research on the theory of visual perception plays an important role in exploring human thinking activities. Arnheim’s theory of visual perception and related research in the field of art education can provide professional and detailed theoretical support for the teaching of art curriculum appreciation and review in middle school. Through the analysis and exploration of Arnheim’s visual perception theory, this paper attempts to apply his visual perception theory to the learning field of junior high school art curriculum appreciation review. Teachers can make use of Arnheim’s relevant research results to make students understand and master art language more easily, and make full use of art language knowledge for art appreciation.
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Böthig, Antonia M., and Gregor U. Hayn-Leichsenring. "Taste in Art—Exposure to Histological Stains Shapes Abstract Art Preferences." i-Perception 8, no. 5 (October 2017): 204166951773607. http://dx.doi.org/10.1177/2041669517736073.

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Exposure to art increases the appreciation of artworks. Here, we showed that this effect is domain independent. After viewing images of histological stains in a lecture, ratings increased for restricted subsets of abstract art images. In contrast, a lecture on art history generally enhanced ratings for all art images presented, while a lecture on town history without any visual stimuli did not increase the ratings. Therefore, we found a domain-independent exposure effect of images of histological stains to particular abstract paintings. This finding suggests that the ‘taste’ for abstract art is altered by visual impressions that are presented outside of an artistic context.
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Elsner, John. "Image and ritual: reflections on the religious appreciation of classical art." Classical Quarterly 46, no. 2 (December 1996): 515–31. http://dx.doi.org/10.1093/cq/46.2.515.

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It is a cliché that most Greek art (indeed most ancient art) was religious in function. Yet our histories of Classical art, having acknowledged this truism, systematically ignore the religious nuances and associations of images while focusing on diverse arthistorical issues from style and form, or patronage and production, to mimesis and aesthetics. In general, the emphasis on naturalism in classical art and its reception has tended to present it as divorced from what is perceived as the overwhelmingly religious nature of post-Constantinian Christian art. The insulation of Greek and Roman art from theological and ritual concerns has been colluded in by most historians of medieval images. Take for instance Ernst Kitzinger's monographic article entitled ‘The Cult of Images in the Age before Iconoclasm’. Despite its title and despite Kitzinger's willingness to situate Christian emperor worship in an antique context, this classic paper contains nothing on the Classical ancestry of magical images, palladia and miracle-working icons in Christian art. There has been the odd valiant exception (especially in recent years), but in general it is fair to say that the religiousness of antiquity's religious art is skirted by the art historians and left to the experts on religion.
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Dissertations / Theses on the topic "Art History and Appreciation"

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Barry, Marie Porterfield. "Art Appreciation Open Educational Resource." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/etsu-oer/1.

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The Art Appreciation course explores the world’s visual arts, focusing on the development of visual awareness, assessment, and appreciation by examining a variety of styles from various periods and cultures while emphasizing the development of a common visual language. The materials are meant to foster a broader understanding of the role of visual art in human culture and experience from the prehistoric through the contemporary. This is an Open Educational Resource (OER), an openly licensed educational material designed to replace a traditional textbook. The course materials consist of 24 lessons each with a presentation, reading list, and/or sample assignment. For ease of adapting, materials are available as PDFs and Microsoft PowerPoint or Word documents.
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Barry, Marie Porterfield. "Lesson 01: Introduction to Art Appreciation." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/art-appreciation-oer/2.

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This lesson covers the elements and principles of art. Elements of art are the physical parts of the work, including line, shape, form, space, texture, value, color, and time. Principles of art are the ways in which those parts are arranged, including unity/variety, balance, contrast, emphasis, movement, rhythm, and pattern.
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Barry, Marie Porterfield. "Lesson 07: The History of Blue." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/art-appreciation-oer/8.

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Barry, Marie Porterfield. "Lesson 03: Prehistory - Our Connection to the History of Humankind Before Text." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/art-appreciation-oer/4.

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This lesson covers prehistoric art from the Paleolithic and Neolithic Ages. It focuses on cave art (Pech-Merle, Chauvet-Pont-d’Arc, Lascaux) and carved figures (Woman of Willendorf) from the Paleolithic period and megalithic architecture (Stonehenge) from the Neolithic period.
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Barry, Marie Porterfield. "Lesson 23: The Postmodern Body in Art." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/art-appreciation-oer/25.

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Barry, Marie Porterfield. "Lesson 13: Mirrors in Renaissance and Baroque Art." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/art-appreciation-oer/14.

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Barry, Marie Porterfield. "Lesson 24: Converging Histories - The Global Art World." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/art-appreciation-oer/26.

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This lesson covers contemporary artists that incorporate artistic traditions specific to the histories of various geographic regions including Mariko Mori, Ai Weiwei, Raqib Shaw, Shirin Neshat, Muzaffar 'Ali, Takashi Murakami, El Anatsui.
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Barry, Marie Porterfield. "Lesson 14: Judith and the Heroines of Baroque Art." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/art-appreciation-oer/15.

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Barry, Marie Porterfield. "Lesson 09: Michelangelo- From High Renaissance to Mannerism." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/art-appreciation-oer/10.

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Barry, Marie Porterfield. "Lesson 10: The Northern Renaissance and Arnolfini Double Portrait." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/art-appreciation-oer/11.

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Books on the topic "Art History and Appreciation"

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Graham, Whitham, ed. Art history. London: Teach Yourself, 2008.

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Graham, Whitham, ed. Art history. Chicago, Ill: McGraw-Hill, 2004.

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Brommer, Gerald F. Discovering art history. 2nd ed. Worcester, Mass: Davis Publications, 1988.

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Brommer, Gerald F. Discovering art history. 3rd ed. Worcester, Mass: Davis Publications, 1997.

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Kaellgren, Peter. An appreciation of art & antiques. [Toronto: Maclean-Hunter], 1990.

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Introduction to art. New York: HarperPerennial, 1992.

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Press, Phaidon, ed. The art museum. New York: Phaidon, 2011.

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Davidson, Rosemary. What is art? Oxford: Oxford University Press, 1993.

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Art. Broomall, PA: Mason Crest, 2003.

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Fictions of Art History (Conference) (2010 : Sterling and Francine Clark Art Institute), ed. Fictions of art history. Williamstown, Massachusetts: Sterling and Francine Clark Art Institute, 2013.

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Book chapters on the topic "Art History and Appreciation"

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Herman, Gail N. "Teaching Visual Art History and Appreciation to Young Children." In Teaching Gifted Children, 211–12. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003238638-42.

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Scalise Sugiyama, Michelle. "Art Production, Appreciation and Fitness." In Encyclopedia of Evolutionary Psychological Science, 1–8. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-319-16999-6_3793-1.

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Arora, Sakshi. "Multisensory Experiences for Art Appreciation." In Human-Computer Interaction – INTERACT 2021, 657–66. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-85613-7_42.

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Topno, Nilima Regina, Shatarupa Thakurta Roy, Noopur Anand, and Vikas Kumar. "Appreciation of Art with Vision and Color." In Smart Innovation, Systems and Technologies, 271–80. Singapore: Springer Singapore, 2019. http://dx.doi.org/10.1007/978-981-13-5977-4_23.

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Newall, Diana, and Grant Pooke. "Art histories and art theories." In Art History, 1–30. 2nd ed. Second edition. | Abingdon, Oxon ; New York : Routledge, 2021. | Series: The basics: Routledge, 2021. http://dx.doi.org/10.4324/9781315727851-11a.

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Pfisterer, Ulrich. "Radical Art History → New Art History." In Metzler Lexikon Kunstwissenschaft, 364. Stuttgart: J.B. Metzler, 2011. http://dx.doi.org/10.1007/978-3-476-00331-7_151.

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Chapman, H. Perry. "Art Fiction." In Art History, 129–49. Oxford, UK: Wiley-Blackwell, 2010. http://dx.doi.org/10.1002/9781444324716.ch7.

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Arnold, Dana. "Art History: Contemporary Perspectives on Method." In Art History, 1–7. Oxford, UK: Wiley-Blackwell, 2010. http://dx.doi.org/10.1002/9781444324716.ch1.

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Chare, Nicholas. "Sexing the Canvas." In Art History, 8–33. Oxford, UK: Wiley-Blackwell, 2010. http://dx.doi.org/10.1002/9781444324716.ch2.

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Boetzkes, Amanda. "Phenomenology and Interpretation beyond the Flesh." In Art History, 34–55. Oxford, UK: Wiley-Blackwell, 2010. http://dx.doi.org/10.1002/9781444324716.ch3.

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Conference papers on the topic "Art History and Appreciation"

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Brühwiler, E. "Novel Structural Engineering Technologies to Serve Heritage Bridges." In IABSE Symposium, Wroclaw 2020: Synergy of Culture and Civil Engineering – History and Challenges. Zurich, Switzerland: International Association for Bridge and Structural Engineering (IABSE), 2020. http://dx.doi.org/10.2749/wroclaw.2020.0216.

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<p>Bridges of high cultural value and aesthetic quality deserve respectful treatment, and consequently, construction interventions must balance these assets with the severe requirements of utilisation. This is particularly relevant to structural engineers and bridge owners involved in rehabilitation or modification interventions. This paper presents examples of how interventions are performed with adequate respect to cultural value. It is argued that the preservation of cultural value may go hand-in-hand with socio-economic, environmental and technical requirements following the principles of sustainable development. These requirements are met through the application of advanced structural engineering methods, including monitoring of structural behaviour and using the UHPFRC Technology. Extending the service duration means adding value to bridges as well as appreciating the art of structural engineering and the identity of structural engineers.</p>
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Zheng, Lixia. "The influence of folk art appreciation on modern art design." In 4th International Conference on Management Science, Education Technology, Arts, Social Science and Economics 2016. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/msetasse-16.2016.66.

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Popov, Vyacheslav O., Natalya N. Khon Harnisch, and Delwyn L. Harnisch. "Art Appreciation: Ability, Development and Components Relating." In ICEEPSY 2016 International Conference on Education and Educational Conference. Cognitive-crcs, 2016. http://dx.doi.org/10.15405/epsbs.2016.11.83.

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Hendra, Pamadhi, Hendra Laente, Hadjar Pamadhi, and Kholif Luqman Maulana. "Museum as a Source of Learning Art Appreciation." In Proceedings of the International Conference on Art and Arts Education (ICAAE 2018). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icaae-18.2019.14.

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Chen, Zhiqian. "Chinese Art Appreciation and Collection Under Aesthetical Perspective." In proceedings of the 2nd International Conference on Literature, Art and Human Development (ICLAHD 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.201215.423.

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Link, John. "Electronic art history." In the 22nd annual ACM SIGUCCS conference. New York, New York, USA: ACM Press, 1994. http://dx.doi.org/10.1145/196355.196503.

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Tan, LiQin, Roberta K. Tarbell, and Robert Wuilfe. "Animating art history." In Educators program from the 30th annual conference. New York, New York, USA: ACM Press, 2003. http://dx.doi.org/10.1145/965106.965118.

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Finnegan, John, Richard Kopp, Carley Augustine, Jerry Banik, Adam Carver, Chad Rajski, Randy Lehman, Lisa Amick, and Students. "Modeling art history." In ACM SIGGRAPH 2006 Educators program. New York, New York, USA: ACM Press, 2006. http://dx.doi.org/10.1145/1179295.1179343.

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Wang, Yan. "The Appreciation Education of Western Arts." In 2017 International Conference on Art Studies: Science, Experience, Education (ICASSEE 2017). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icassee-17.2018.84.

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Fukishima, Kotaro, Akinori Abe, and Reina Kawada. "How Will Sense of Values Change during Art Appreciation?" In 2019 International Conference on Data Mining Workshops (ICDMW). IEEE, 2019. http://dx.doi.org/10.1109/icdmw.2019.00009.

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Reports on the topic "Art History and Appreciation"

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Orenstein, Harold S. Selected Readings in the History of Soviet Operational Art. Fort Belvoir, VA: Defense Technical Information Center, May 1990. http://dx.doi.org/10.21236/ada231842.

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Deitchman, Seymour J. Quantifying the Military Value of Training for System and Force Acquisition Decisions: An Appreciation of the State of the Art. Fort Belvoir, VA: Defense Technical Information Center, October 1993. http://dx.doi.org/10.21236/ada274753.

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Ashdown, Susan P., and Kimberly A. Phoenix. Half Scale, Full Engagement: Uniting Art, History and Technology to Teach Patternmaking. Ames: Iowa State University, Digital Repository, November 2016. http://dx.doi.org/10.31274/itaa_proceedings-180814-1342.

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Carlin, P. W., A. S. Laxson, and E. B. Muljadi. The History and State of the Art of Variable-Speed Wind Turbine Technology. Office of Scientific and Technical Information (OSTI), March 2001. http://dx.doi.org/10.2172/776935.

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Galenson, David. Anticipating Artistic Success (or, How to Beat the Art Market): Lessons from History. Cambridge, MA: National Bureau of Economic Research, February 2005. http://dx.doi.org/10.3386/w11152.

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Wiel, S. The science and art of valuing externalities: A recent history of electricity sector evaluations. Office of Scientific and Technical Information (OSTI), May 1995. http://dx.doi.org/10.2172/503480.

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HEFNER, Robert. IHSAN ETHICS AND POLITICAL REVITALIZATION Appreciating Muqtedar Khan’s Islam and Good Governance. IIIT, October 2020. http://dx.doi.org/10.47816/01.001.20.

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Ours is an age of pervasive political turbulence, and the scale of the challenge requires new thinking on politics as well as public ethics for our world. In Western countries, the specter of Islamophobia, alt-right populism, along with racialized violence has shaken public confidence in long-secure assumptions rooted in democracy, diversity, and citizenship. The tragic denouement of so many of the Arab uprisings together with the ascendance of apocalyptic extremists like Daesh and Boko Haram have caused an even greater sense of alarm in large parts of the Muslim-majority world. It is against this backdrop that M.A. Muqtedar Khan has written a book of breathtaking range and ethical beauty. The author explores the history and sociology of the Muslim world, both classic and contemporary. He does so, however, not merely to chronicle the phases of its development, but to explore just why the message of compassion, mercy, and ethical beauty so prominent in the Quran and Sunna of the Prophet came over time to be displaced by a narrow legalism that emphasized jurisprudence, punishment, and social control. In the modern era, Western Orientalists and Islamists alike have pushed the juridification and interpretive reification of Islamic ethical traditions even further. Each group has asserted that the essence of Islam lies in jurisprudence (fiqh), and both have tended to imagine this legal heritage on the model of Western positive law, according to which law is authorized, codified, and enforced by a leviathan state. “Reification of Shariah and equating of Islam and Shariah has a rather emaciating effect on Islam,” Khan rightly argues. It leads its proponents to overlook “the depth and heights of Islamic faith, mysticism, philosophy or even emotions such as divine love (Muhabba)” (13). As the sociologist of Islamic law, Sami Zubaida, has similarly observed, in all these developments one sees evidence, not of a traditionalist reassertion of Muslim values, but a “triumph of Western models” of religion and state (Zubaida 2003:135). To counteract these impoverishing trends, Khan presents a far-reaching analysis that “seeks to move away from the now failed vision of Islamic states without demanding radical secularization” (2). He does so by positioning himself squarely within the ethical and mystical legacy of the Qur’an and traditions of the Prophet. As the book’s title makes clear, the key to this effort of religious recovery is “the cosmology of Ihsan and the worldview of Al-Tasawwuf, the science of Islamic mysticism” (1-2). For Islamist activists whose models of Islam have more to do with contemporary identity politics than a deep reading of Islamic traditions, Khan’s foregrounding of Ihsan may seem unfamiliar or baffling. But one of the many achievements of this book is the skill with which it plumbs the depth of scripture, classical commentaries, and tasawwuf practices to recover and confirm the ethic that lies at their heart. “The Quran promises that God is with those who do beautiful things,” the author reminds us (Khan 2019:1). The concept of Ihsan appears 191 times in 175 verses in the Quran (110). The concept is given its richest elaboration, Khan explains, in the famous hadith of the Angel Gabriel. This tradition recounts that when Gabriel appeared before the Prophet he asked, “What is Ihsan?” Both Gabriel’s question and the Prophet’s response make clear that Ihsan is an ideal at the center of the Qur’an and Sunna of the Prophet, and that it enjoins “perfection, goodness, to better, to do beautiful things and to do righteous deeds” (3). It is this cosmological ethic that Khan argues must be restored and implemented “to develop a political philosophy … that emphasizes love over law” (2). In its expansive exploration of Islamic ethics and civilization, Khan’s Islam and Good Governance will remind some readers of the late Shahab Ahmed’s remarkable book, What is Islam? The Importance of Being Islamic (Ahmed 2016). Both are works of impressive range and spiritual depth. But whereas Ahmed stood in the humanities wing of Islamic studies, Khan is an intellectual polymath who moves easily across the Islamic sciences, social theory, and comparative politics. He brings the full weight of his effort to conclusion with policy recommendations for how “to combine Sufism with political theory” (6), and to do so in a way that recommends specific “Islamic principles that encourage good governance, and politics in pursuit of goodness” (8).
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McGowan, Kevin M. A Great War More Worthy Of Relation Than Any That Had Preceded It: Thucycides History of the Peloponnesian War as a Rosetta Stone for Joint Warfare and Operational Art. Fort Belvoir, VA: Defense Technical Information Center, June 2006. http://dx.doi.org/10.21236/ada463540.

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Webb, Philip, and Sarah Fletcher. Unsettled Issues on Human-Robot Collaboration and Automation in Aerospace Manufacturing. SAE International, November 2020. http://dx.doi.org/10.4271/epr2020024.

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This SAE EDGE™ Research Report builds a comprehensive picture of the current state-of-the-art of human-robot applications, identifying key issues to unlock the technology’s potential. It brings together views of recognized thought leaders to understand and deconstruct the myths and realities of human- robot collaboration, and how it could eventually have the impact envisaged by many. Current thinking suggests that the emerging technology of human-robot collaboration provides an ideal solution, combining the flexibility and skill of human operators with the precision, repeatability, and reliability of robots. Yet, the topic tends to generate intense reactions ranging from a “brave new future” for aircraft manufacturing and assembly, to workers living in fear of a robot invasion and lost jobs. It is widely acknowledged that the application of robotics and automation in aerospace manufacturing is significantly lower than might be expected. Reasons include product variability, size, design philosophy, and relatively low volumes. Also, the occasional reticence due to a history of past false starts plays a role too. Unsettled Issues on Human-Robot Collaboration and Automation in Aerospace Manufacturing goes deep into the core questions that really matter so the necessary step changes can move the industry forward.
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