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The two art histories [ Texto impreso] : the museum and the university / edited by Charles W. Haxthausen.

By: Contributor(s): Material type: TextTextSeries: Clark studies in the visual artsPublication details: Williamstown, Mass. : Sterling and Francis Clark Art Institute ; New Haven : Distributd by Yale University Press, c2002.Description: xxv, 195 p. : il. ; 24 cmISBN:
  • 0931102448
Subject(s):
Contents:
Foreword / Michael Conforti (p. vii) -- Introduction / Charles W. Haxthausen (p. ix) -- Part One: The two art histories: perspectives: Whose art history? Curators, academics, and the museum visitor in Britain in the 1980s and 1990s / Stephen Deuchar (p. 3) -- Magnanimity and paranoia in the big bad art world / Ivan Gaskell (p. 14) -- Between academic and exhibition practice: the case of renaissance studies / Andreas Beyer (p. 25) -- Constructing histories of Latin American art / Dawn Ades (p. 32) -- Art history and its audience: a matter of gaps and bridges / Sybille Ebert-Schifferer (p. 45) -- www.display: complicating the formats of art history / Barbara Maria Stafford (p. 52) -- Part Two: The exhibition as discursive medium: Eloquent walls and argumentative spaces: displaying late works of Degas / Richard Kendall (p. 63) -- Telling stories museum style / Mark Rosenthal (p. 74) -- Repetition and novelty: exhibitions tell tales / Patricia Mainardi (p. 81) -- German art - national expression or world language? Two visual essays / Eckart Gillen (p. 87) -- Case for active viewing / William H. Truettner (p. 102) -- Part Three: Impressionism: the blockbuster and revisionist scholarship: Murder, autopsy, or dissection? Art history divides artists into parts: the cases of Edgar Degas and Claude Monet / Richard R. Brettell (p. 115) -- History of absence belatedly addressed: Impressionism with and without Mary Cassatt / Griselda Pollock (p. 123) -- Blockbuster, art history, and the public: the case of Origins of Impressionism / Gary Tinterow (p. 142) -- Possibilities for a revisionist blockbuster: Landscapes/impressions of France / John House (p. 154) -- Tormented friendship: French Impressionism in Germany / Michael F. Zimmermann (p. 162) -- Afterword / Richard Brilliant (p. 183).
Note: "based on the proceedings of the Clark Conference "The Two Art Histories : the Museum and the University," held Apr. 9-10, 1999, at the Sterling and Francine Clark Art Institute, Williamstown, Mass." -- verso portada. Información biográfica o histórica: Charles Werner Haxthausen (1941- ) is the Faison-Ierson-Stoddard Professor of Art History and Director of the Graduate Program in the History of Art at Williams College. He was formerly the Curator of the Busch-Reisinger Museum at Harvard University and has published widely on twentieth-century German art and criticism. -- P. 194.Bibliography: Incluye referencias bibliográficas.Summary: "Many museum professionals today believe that university-based art history focuses too much on theory and the social agency of art, neglecting the aesthetic dimensions of the art object. Conversely, many academics feel that museums have become preoccupied with the quest for money and audiences, making them an increasingly unlikely source of innovative scholarship. In this collection of essays, 17 figures from both sides of the art world - museum professionals and university scholars - explore the questions underlying the often tense relationship between the two main branches of the discipline." -- Página web de Amazon.

"based on the proceedings of the Clark Conference "The Two Art Histories : the Museum and the University," held Apr. 9-10, 1999, at the Sterling and Francine Clark Art Institute, Williamstown, Mass." -- verso portada.

Foreword / Michael Conforti (p. vii) -- Introduction / Charles W. Haxthausen (p. ix) -- Part One: The two art histories: perspectives: Whose art history? Curators, academics, and the museum visitor in Britain in the 1980s and 1990s / Stephen Deuchar (p. 3) -- Magnanimity and paranoia in the big bad art world / Ivan Gaskell (p. 14) -- Between academic and exhibition practice: the case of renaissance studies / Andreas Beyer (p. 25) -- Constructing histories of Latin American art / Dawn Ades (p. 32) -- Art history and its audience: a matter of gaps and bridges / Sybille Ebert-Schifferer (p. 45) -- www.display: complicating the formats of art history / Barbara Maria Stafford (p. 52) -- Part Two: The exhibition as discursive medium: Eloquent walls and argumentative spaces: displaying late works of Degas / Richard Kendall (p. 63) -- Telling stories museum style / Mark Rosenthal (p. 74) -- Repetition and novelty: exhibitions tell tales / Patricia Mainardi (p. 81) -- German art - national expression or world language? Two visual essays / Eckart Gillen (p. 87) -- Case for active viewing / William H. Truettner (p. 102) -- Part Three: Impressionism: the blockbuster and revisionist scholarship: Murder, autopsy, or dissection? Art history divides artists into parts: the cases of Edgar Degas and Claude Monet / Richard R. Brettell (p. 115) -- History of absence belatedly addressed: Impressionism with and without Mary Cassatt / Griselda Pollock (p. 123) -- Blockbuster, art history, and the public: the case of Origins of Impressionism / Gary Tinterow (p. 142) -- Possibilities for a revisionist blockbuster: Landscapes/impressions of France / John House (p. 154) -- Tormented friendship: French Impressionism in Germany / Michael F. Zimmermann (p. 162) -- Afterword / Richard Brilliant (p. 183).

"Many museum professionals today believe that university-based art history focuses too much on theory and the social agency of art, neglecting the aesthetic dimensions of the art object. Conversely, many academics feel that museums have become preoccupied with the quest for money and audiences, making them an increasingly unlikely source of innovative scholarship. In this collection of essays, 17 figures from both sides of the art world - museum professionals and university scholars - explore the questions underlying the often tense relationship between the two main branches of the discipline." -- Página web de Amazon.

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