History of English art. From the Middle Ages to the present day

M.: Galart, 2010. - 480 p.

This book is the first Russian history English art, representing all the main periods of its development from its origins to the present. The book is richly illustrated with paintings from museums in the UK, USA and Russia. It is intended for art critics, artists and art lovers.

Format: djvu/zip

Size: 56.8 MB

Download: rusfolder.com

CONTENT
Preface
Chapter 1. English art and national character
Chapter 2. Art of the Middle Ages
Development of medieval architecture
Book miniature
Bestiaries
Chapter 3. The Art of the English Renaissance
Socio-historical background
Hans Holbein the Younger in England
The Rise of English Portrait
Shakespeare and the ideas of Italian humanism
Chapter 4. Emergence national school painting: William Hogarth
Chapter 5. Founding of the Royal Academy of Arts and formation academic school
Chapter 6. “Grand Tour” - a journey to the Renaissance
History of the Grand Tour
From "Grand Tour" to "Grand Style"
“Features of Fatal Beauty”: Italy in English Poetry
Image of Italy in English literature
John Ruskin and Walter Pater: two views of Italy
Chapter 7. The Golden Age of English Caricature
Characteristics of the genre
Peculiarities English humor
The emergence of the satirical press
Thomas Rowlandson (1756-1827)
James Gillray (1757-1815)
George Cruikshank (1792 -1878)
Russia in English caricature
Chapter 8. Between classicism and romanticism: Henry Fuseli
Chapter 9. English Romanticism
Chapter 10. Pre-Raphaelites: religion of beauty
Chapter 11. Russian-English artistic connections: dialogue of arts
Chapter 12. English landscape: the discovery of “picturesque” nature
Chapter 13. “The British Face”: the history of the English portrait
Chapter 14. Art of the 20th century
Post-Impressionism: the path to the avant-garde
Cubofuturism
Return to realism
Religious vision
Search abstract forms
From realism to surrealism
Pop Art
The search for a “new substance”: Lucian Freud
Conclusion
Name index of English artists
List of illustrations

Available in formats: EPUB | PDF | FB2

Pages: 336

The year of publishing: 2015

Language: Russian

Readers are presented with a textbook on the history of art history. It examines the development of the theory visual arts, architecture, music and drama from antiquity to the twentieth century. The book contains lists of recommended readings and topics for writing activities. This is the only manual in our domestic literature for those who study the history of art and culture. The publication is intended primarily for students and teachers of art and humanities universities. It will also be useful to a wide range of readers interested in the history of art.

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This book aims to introduce the process historical development European art history. The study of this process is absolutely necessary for every modern art critic and cultural scientist.

Today it is obvious that art history, which relatively recently was a narrow academic discipline hiding under the quiet shadow of art academies, art schools and universities, acquires a new social status. The growth of technology for reproducing and replicating works of art, the improvement of art museums, which are turning from dead collections into large educational and aesthetic centers, and finally, the possibilities of the Internet, which opens everyone to access to any art collection in the world, assign new educational and intellectual functions to the history of art, which she didn't know until now.

This change social status The internal evolution of the scientific discipline itself also contributes. The main trend in this area is the globalization of the subject of art history. Its borders are constantly expanding, studies of local and national regions are being replaced by the study global processes. Today this is recognized by most researchers.

One of characteristic features modern history art, as it develops throughout the world, lies in close connection art history with other areas of humanities, in particular with philosophy, psychology, cultural studies, linguistics. The time for empirical art criticism has passed. It had the right to exist at a time when the history of art was just beginning as scientific discipline and its purpose was to collect and study empirical material. Today there is nothing more useless and meaningless than art history, devoid of theoretical principles and knowledge of the main trends in the interpretation and understanding of art history.

Udo Kulterman in his book focuses on the art history of the 20th century. He is considering new feature art historian, which, in his opinion, consists of establishing a connection between the past and the present, between science and art. "Between various disciplines more and more new contacts arise: the artist begins to study the history of art, and the art historian is increasingly involved in the process of creating a work of art. Our time is multidimensional. Popular, elite, applied arts and the media no longer exist in isolation, but represent an integrated whole." In addition, he leads a large number of photographs of the art historians he writes about.

In modern Western literature A new scientific genre appeared, which gained great popularity - “the history of art history.” IN English language There is no word “art history”; the term “art history” is adequate to this concept. Therefore, the history of art history, its development and formation is denoted by the term “history of art history,” that is, the history of art history. Many books have been written in this genre, in particular by Germain Bazin, Udo Kulterman, Vernon Hyde Minor and others. All of these are very useful and informative publications, although they differ from each other in nature and selection of materials. Bazin examines the study of art history from the time Vasari wrote his Lives until the 70s of the 20th century. Therefore, the subtitle of the book is “From Vasari to the present day.” This wonderful book, which successfully combines and Scientific research, and personal observations and assessments. Its drawback, like the drawback of other books, is that it ignores research into the history of art in Russia.

Vernon Minor's book is somewhat different from others, it consists of three parts. The first looks at art academies, the second addresses the question of what art is, and the third looks at "modernist" concepts in art history. The author includes in this section characteristics of formalism, Marxism, feminism, deconstruction, and psychoanalysis. He proclaims the collapse of classical art history and the creation of its new, modernist version. Manor writes: "Today, traditional teaching and writing of art history no longer exists. Global perspectives are replacing local views on the history of Western art. The traditional understanding of Western art as derived from Greek and Roman roots is being questioned... Definitions of quality, beauty and the meanings are lost. The new history of art presents the vast, global parameters of art. The result becomes. new story art, which, perhaps, is not very true, but reflects many voices and many cultures." Here, as we see, the author sacrifices truth for the sake of pluralism of opinions, or, what is the same, considers pluralism, regardless of what it expresses, itself a truth.

Thus, we see how three books on the same topic express different positions, different look on the history of art and its study. Unfortunately, this kind of research has not yet been undertaken in Russia, and this book is the first experience in this area. Here we present our point of view on art history, which is neither traditionalist nor modernist. Contemporary art history is not opposed to classical history, although new methods and new horizons indeed appear in it. But today it is impossible to understand the meaning of art history without turning to classical sources.

This book differs from traditional Western studies of art history. Firstly, it is complex, interdisciplinary in nature. We include in our scope not only the visual arts, but also music, architecture and drama theory. It is very important to trace how the same cultural phenomena are refracted differently in language various types art. The subject of our consideration is what is often ignored by art historians, for example, the history of the medieval book, the academic movement of the 17th-19th centuries, the philosophy of art of the 19th century, or the modern psychology of visual perception. Secondly, we begin our research not with Vasari, but with Pliny, thus including antiquity and the Middle Ages in the history of European art history, asserting, contrary to the modernists from art history, the Greco-Roman roots of European art history. And finally, in our book we restore rights national history art, presenting an outline of the development of art history in Russia XIX-XX centuries and relying on works not only foreign, but also domestic historians art.

This book is based on the experience of teaching art history at the Department of Foreign Art at Moscow State University. M. V. Lomonosov, Institute of Culture, Russian humanitarian university, in the UK and USA. I hope that its publication will serve as an incentive for the study of art history, which is now included in many university programs in the country.

Specialist in the field of aesthetics, theory and cultural history. Doctor of Philosophy, Professor, Honored Worker of Culture of the Russian Federation. Head of the Art Theory Sector of the Russian Institute of Cultural Studies, Professor of the Department of Art History of the Russian State University for the Humanities. Graduated from the Faculty of Philosophy of Moscow State University. M.V. Lomonosov in 1957. In 1963 he defended his candidate's dissertation, in 1975 - his doctoral dissertation. He has taught at universities in the USA and Great Britain. He has received grants from the Warburg Institute (London), the Paul Mellon Foundation for the Study of English Art, the Pro-Helvetia Foundation (Switzerland), and the Yale Center for the Study of English Art (USA).

Consultant to the Commission for UNESCO on cultural issues (1980-1990). Published reports and communications on cultural issues in UNESCO documents.

Basic scientific interest V.P. Shestakova is an intellectual history related to the history of philosophy, aesthetics and education. His works are devoted to the study of the cultural history of the USA, Great Britain and Russia. Author of more than 60 books on problems of aesthetics, philosophy of culture and art history. Among major works: "History of aesthetic categories" (together with A.F. Losev), "Essays on the history of aesthetics", "From ethos to affect. History of musical aesthetics", "Eschatology and utopia. Essays on Russian philosophy and culture", "Mythology of the 20th century . Theory and practice popular culture", "America from the outside and from the inside", "English accent. English art and national character", "Eros and culture. Philosophy of love and European art", "Essays on the history of aesthetics", "Aesthetics of the Renaissance", "Russian literary utopia", "Mythology of the 20th century. Theory and practice of mass culture", "Art and the world in the "World of Art"", "Intellectual history of Cambridge", "Intellectual biography of Ernst Gombrich", "The tragedy of exile. The fate of the Vienna School of Art History", "Philosophy and Culture of the Renaissance", "History of Art History: From Pliny to the Present Day" (URSS, 2008), "History of Aesthetic Teachings" (URSS, 2009), "USA: Pseudoculture or Tomorrow Europe?" (URSS, 2010, 2012), "History of English Art: From the Middle Ages to the Present" (2010), "European Eros: Philosophy of Love and European Art" (URSS, 2011), etc.

Books have been published under the scientific editorship of V.P. Shestakov, which have become educational aids for Russian universities-- five-volume "History of Aesthetics in Five Volumes" (1962-1967), "Musical Aesthetics Western European Middle Ages and the Renaissance" (1965), the two-volume anthology "Ideas of Aesthetic Education" (1966), "Aesthetics of the Renaissance" (1981--1982), "Treats on the Love and Beauty of Women of the Renaissance" (1992). He also explores the methodology of art history from its origins to the present day.

V.P. Shestakov’s works have been translated into English, Italian, Polish, Hungarian, Czech, Slovak and Chinese.

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