Kunst am Ursprung : Das Nachleben der Bilder und die Souveränität des Antiquars
- Submitting institution
-
University of Aberdeen
- Unit of assessment
- 28 - History
- Output identifier
- 171118768
- Type
- A - Authored book
- DOI
-
10.14361/transcript.9783839427507.fm
- Publisher
- transcript Verlag
- ISBN
- 978-3-8376-2750-3
- Open access status
- -
- Month of publication
- July
- Year of publication
- 2014
- URL
-
-
- Supplementary information
-
-
- Request cross-referral to
- -
- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
- -
- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
-
0
- Research group(s)
-
-
- Proposed double-weighted
- Yes
- Double-weighted statement
- This output uses an extensive, interdisciplinary, and multilingual source base. It draws heavily on published and unpublished sources in English, German, French, Italian, Greek, Latin, and Dutch. The book is the product of a sustained research effort over four years. The list of sources amounts to 15 pages in the bibliography, complemented by a further 27 pages of secondary literature. It combines sources and methodologies from art history, classics, and anthropology to elaborate a complex re-interpretation of a key period of art-historiography and -theory, broadening and revising the disciplinary canon of art history.
- Reserve for an output with double weighting
- No
- Additional information
- -
- Author contribution statement
- -
- Non-English
- Yes
- English abstract
- Kunst am Ursprung is an interdisciplinary contribution to the history of antiquarianism around 1800. It focuses on theories on the origins of art by authors such as Pierre d’Hancarville, Richard Payne Knight, and James Christie. This book highlights a counter-history of conjectural art writing, positioned against the historicism of J.J. Winckelmann. It reconstructs an alternative tradition of art history, showing affinities with theorists such as Aby Warburg. Turning to a ‘pre-disciplinary’ body of antiquarian writing, the book proposes a fresh perspective on the canon of ‘art historiography’, reassessing the role of writings on anthropology and classics for art theoretical debates.
