Today's book buyer takes for granted that art books will be illustrated with quality full-color reproductions of famous masterpieces. Yet, it was only in the eighteenth century that they began to be illustrated for the first time. In Picturing Art History, Ingrid R. Vermeulen investigates the role that illustrations played in the emergence of the field of art history, arguing that the use of prints and drawings collections by such scholars as Giovanni Bottari, Johann Winckelmann and Jean-Baptiste Seroux d'Agincourt was inextricably bound up with the belief that the artistic past should not be pictured as a history of artists, but as a history of art.
Today’s book buyer takes for granted that books on art history will be illustrated with quality full-color reproductions of famous masterpieces. Yet it was only in the eighteenth century that art books began to be illustrated. In Picturing Art History, Ingrid R. Vermeulen investigates the role that illustrations played in the emergence of the field of art history, arguing that the reproduction collections of such scholars as Giovanni Bottari, Johann Winckelmann, and Jean-Baptiste Seroux d’Agincourt led to the belief that the artistic past should not be pictured as a history of artists, but as a history of works.
| Introduction |
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7 | (12) |
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1 Unfulfilled Projects to Illustrate Vasari |
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19 | (72) |
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The Visualisation of Artistic Progress in Print Collections |
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22 | (6) |
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The Corsini Collection and its Discontents |
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28 | (31) |
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28 | (3) |
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Decay and the Necessity of Documentation |
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31 | (7) |
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Reproduction and the Character of Art |
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38 | (21) |
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From Print Collecting into Art-Historical Illustration |
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59 | (32) |
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Print Annotations to Vasari's `Vite' |
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59 | (2) |
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Print Collections as Bodies of Art History |
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61 | (2) |
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63 | (6) |
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Artists' Biographies with Reproductive Prints |
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69 | (9) |
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Artistic Schools and the Illustration of Artistic Progress |
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78 | (13) |
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2 The Artistic Past at a Glance |
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91 | (86) |
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The Prominence of Drawings |
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93 | (13) |
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Winckelmann's Interest in Drawing Collections |
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97 | (2) |
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The Disadvantage of Antiquarian Collections |
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99 | (3) |
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Vase Paintings as Drawings |
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102 | (4) |
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Connoisseurship and the Invention of Art History |
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106 | (17) |
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106 | (2) |
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Detecting Artistic Schools |
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108 | (2) |
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The Question of Artistic Progress |
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110 | (4) |
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114 | (9) |
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The Cabinet of Art History |
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123 | (31) |
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Drawings as a Point of Departure (Baldinucci) |
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124 | (6) |
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The Unity of Drawings and Biographies (d'Argenville) |
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130 | (8) |
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Acknowledging a Tradition (Winckelmann) |
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138 | (16) |
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Drawings and the Illustration of Art History |
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154 | (23) |
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3 The `Histoire De L'Art Par Les Monumens' |
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177 | (86) |
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179 | (5) |
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Illustrating the Artistic Past |
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184 | (31) |
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The Case of the Bolognese School |
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185 | (9) |
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Artists' Oeuvres at a Glance |
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194 | (9) |
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Expression as an Art-historical Category |
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203 | (8) |
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211 | (4) |
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The Problem of Faithful Reproduction |
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215 | (35) |
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218 | (18) |
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236 | (14) |
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The Realization of the Illustrated Overview |
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250 | (13) |
| Conclusion |
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263 | (4) |
| Appendices |
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267 | (14) |
| Archival Material |
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281 | (2) |
| Notes |
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283 | (38) |
| Bibliography |
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321 | (20) |
| Index |
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341 | (18) |
| Illustration Credits |
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359 | |
INGRID R. VERMEULEN is Associate Professor of Early-Modern Art History at Vrije Universiteit Amsterdam. Her research focuses on the early-modern history of art history grounded in art literature, collections, and museums. It generated the book Picturing Art History (2010) and the project The Artistic Taste of Nations (2015) funded by the Dutch Research Council (NWO). .
Rohkem infot Taylor & Francis e-raamatute kohta