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Vermeer's Wager : Speculations on Art History, Theory and Art Mus
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Standort: Mishawaka, Indiana, USA
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eBay-Artikelnr.:317194144290
Artikelmerkmale
- Artikelzustand
- Gut
- Hinweise des Verkäufers
- Features
- EX-LIBRARY
- Book Title
- Vermeer's Wager : Speculations on Art History, Theory and Art Mus
- ISBN
- 9781861890726
Über dieses Produkt
Product Identifiers
Publisher
Reaktion Books, The Limited
ISBN-10
1861890729
ISBN-13
9781861890726
eBay Product ID (ePID)
1785735
Product Key Features
Number of Pages
280 Pages
Publication Name
Vermeer's Wager : Speculations on Art History, Theory, and Art Museums
Language
English
Publication Year
2000
Subject
Individual Artists / General, Museums, Tours, Points of Interest, General, History / General
Type
Textbook
Subject Area
Art, Travel
Series
Essays in Art and Culture Ser.
Format
Trade Paperback
Dimensions
Item Height
0.8 in
Item Weight
21.6 Oz
Item Length
9 in
Item Width
6 in
Additional Product Features
Intended Audience
Scholarly & Professional
Illustrated
Yes
Table Of Content
Acknowledgements Introduction 1. Problems 2. Images 3. Objects 4. Copies 5. Etchings 6. Photographs 7. Commodities 8. Donors 9. Therapeutics 10. Subjects References Photographic Acknowledgements
Synopsis
Vermeer's Wager stands at the intersection of art history and criticism, philosophy and museology. Using a familiar and celebrated painting by Johannes Vermeer as a case study, Ivan Gaskell explores what it might mean to know and use a work of art. He argues that art history as generally practiced, while successfully asserting certain claims to knowledge, fails to take into account aspects of the unique character of works of art. Our relationship to art is mediated, not only through reproduction particularly photography but also through displays in museums. In an analysis that ranges from seventeenth-century Holland, through mid-nineteenth-century France, to artists' and curators' practice today, Gaskell draws on his experience of Dutch art history, philosophy and contemporary art criticism. Anyone with an interest in Vermeer and the afterlife of his art will value this book, as will all who think seriously about the role of photography in perception and the core purposes of art museums.", Vermeer's Wager stands at the intersection of art history and criticism, philosophy and museology. Using a familiar and celebrated painting by Johannes Vermeer as a case study, Ivan Gaskell explores what it might mean to know and use a work of art. He argues that art history as generally practiced, while successfully asserting certain claims to knowledge, fails to take into account aspects of the unique character of works of art. Our relationship to art is mediated, not only through reproduction - particularly photography - but also through displays in museums. In an analysis that ranges from seventeenth-century Holland, through mid-nineteenth-century France, to artists' and curators' practice today, Gaskell draws on his experience of Dutch art history, philosophy and contemporary art criticism. Anyone with an interest in Vermeer and the afterlife of his art will value this book, as will all who think seriously about the role of photography in perception and the core purposes of art museums., Vermeer's Wagerstands at the intersection of art history and criticism, philosophy and museology. Using a familiar and celebrated painting by Johannes Vermeer as a case study, Ivan Gaskell explores what it might mean to know and use a work of art. He argues that art history as generally practiced, while successfully asserting certain claims to knowledge, fails to take into account aspects of the unique character of works of art. Our relationship to art is mediated, not only through reproduction - particularly photography - but also through displays in museums. In an analysis that ranges from seventeenth-century Holland, through mid-nineteenth-century France, to artists' and curators' practice today, Gaskell draws on his experience of Dutch art history, philosophy and contemporary art criticism. Anyone with an interest in Vermeer and the afterlife of his art will value this book, as will all who think seriously about the role of photography in perception and the core purposes of art museums.
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