By Paul Smith, Carolyn Wilde
The significant other presents an obtainable severe survey of Western visible artwork concept from assets in Classical, Medieval and Renaissance suggestion via to modern writings.
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Additional resources for A Companion to Art Theory
Hubbell, Loeb Classical Library, p. 311 Horace (1966) Ars poetica 1–37, trans. by H. Rushton Fairclough, Loeb Classical Library, pp. 7, trans. by Wladyslaw Tatarkiewicz, in History of Aesthetics, vol. 1, Ancient Aesthetics, Mouton, pp. 302, 305 Philo of Alexandria (1970) De opiﬁcio mundi 4, trans. by Wladyslaw Tatarkiewicz, in History of Aesthetics, vol. 1, Ancient Aesthetics, Mouton, p. 22, trans. by F. C. Conybeare, Loeb Classical Library, pp. 173–9 Plato (1956) The Republic 507B–C, 595B, 598A, trans.
It is the visual organization of the content of the work, the istoria. Istoria, or history painting, that is large-scale narrative painting, was to become the major genre of the academic tradition. Its themes were drawn from biblical and classical sources. Thus in his introduction of the istoria as the proper object of the art of painting, Alberti furthered the appropriation of a Classical culture by aligning the teachings of Cicero with the stories of Ovid. Because of its erudite subject matter istoria is thus elevated above portraiture and still life, and its status contrasted particularly with genre painting, or subjects from everyday life, which did not have the same thematic depth.
Iconoclasm, a movement dedicated to the destruction of religious images, arose from a complex mixture of social, cultural, political and religious tensions peculiar to the Byzantine Empire, and was to have a lasting effect on the sub30 Medieval Art Theory sequent history of the visual arts in Judaism and Islam. Christian Iconoclasts had two fundamental beliefs: ﬁrst, that the widespread practice of venerating religious images was idolatrous (the mental habits of paganism were still prevalent at the time, and the charge of idolatry was sometimes justiﬁed); and second, that the very attempt to represent God or any aspect of the divine as a visual image was blasphemous, for it was an insult to God to think that one could represent His nature in material form.
A Companion to Art Theory by Paul Smith, Carolyn Wilde