Can the reception of a single, widely disseminated book offer a historical road map for global art history? This volume of essays poses that question and charts the enduring response to Swiss art historian Heinrich Wolfflin's Principles of Art History, which inaugurated an art history based entirely on forms of seeing and employing a comparative method.
Evonne Levy and Tristan Weddigen, Editors
Can the reception of a single, widely disseminated book offer a historical road map for global art history? This volume of essays poses that question. Published by the Center for Advanced Study in the Visual Arts at the National Gallery of Art, this book charts the enduring response to Swiss art historian Heinrich Wolfflin's Principles of Art History, which inaugurated an art history based entirely on forms of seeing and employing a comparative method.
First published in German in 1915, Wolfflin's book has been translated into 22 languages and is still in print in many of them. Many of the translators and transmitters of the text are represented in this volume, which includes essays that discuss the book's readership across Europe, North and South America, and South and East Asia. From discussing the book's reception, positive and negative, the first genealogy of a global art history emerges
- Hardcover
- 9 × 11 inches
- 320 pages, 70 color + 60 b/w illustrations
- Published 2020
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| Description | Evonne Levy and Tristan Weddigen, Editors Can the reception of a single, widely disseminated book offer a historical road map for global art history? This volume of essays poses that question. Published by the Center for Advanced Study in the Visual Arts at the National Gallery of Art, this book charts the enduring response to Swiss art historian Heinrich Wolfflin's Principles of Art History, which inaugurated an art history based entirely on forms of seeing and employing a comparative method. First published in German in 1915, Wolfflin's book has been translated into 22 languages and is still in print in many of them. Many of the translators and transmitters of the text are represented in this volume, which includes essays that discuss the book's readership across Europe, North and South America, and South and East Asia. From discussing the book's reception, positive and negative, the first genealogy of a global art history emerges
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