Synopses & Reviews
What are the fundamental differences between classic and baroque art? Is there a pattern underlying the seemingly helter-skelter development of art in different cultures and at different times? What causes our entirely different reactions to precisely the same painting or to the same painter?
In this now-classic treatise, published originally in Germany in the early 1920s, Professor Wölfflin provides an objective set of criteria to answer these and related questions. Examining such factors as style, quality, and mode of representation in terms of five opposed dynamisms (the linear vs. painterly, plane vs. recession, closed vs. open form, multiplicity vs. unity, and clearness vs. unclearness), the author analyzes the work of 64 major artists, delving even into sculpture and architecture. 150 illustrations of the work of Botticelli, van Cleve, Durer, Holbein, Brueghel, Bouts, Hals, Rembrandt, Velasquez, Titian, Vermeer, and other major figures accompany Professor Wölfflin's brilliant contributions to the methodology of art criticism.
Whether you teach art, study it, or want to understand it purely for your own enjoyment, this epoch-making study will certainly increase your comprehension of and pleasure in the world's art heritage.
Synopsis
Seminal modern study analyzes over 150 works by masters. 121 illus.
Synopsis
Seminal modern study explains ideas beyond superficial changes. Analyzes over 150 works by masters. 121 illustrations.
Synopsis
Classic study surveys works of 64 major artists in terms of style, quality, and mode of representation. It features 120 black-and-white illustrations of works by Botticelli, Hals, Holbein, Rembrandt, Velasquez, Vermeer, and others.
Synopsis
Originally published in Germany during the 1920s, this now-classic study surveys the works of 64 major artists in terms of style, quality, and mode of representation. A brilliant contribution to the methodology or art criticism, it features 120 black-and-white illustrations of works by Botticelli, Durer, Holbein, Rembrandt, Velasquez, Vermeer, and others.
Table of Contents
PREFACE TO THE SIXTH EDITION
FOREWORD TO THE SEVENTH EDITION
LIST OF ILLUSTRATIONS
INTRODUCTION
The Double Root of Style
The Most General Representational Forms
Imitation and Decoration
I. LINEAR AND PAINTERLY
General
"Linear (Draughtsmanly, Plastic) and Painterly"
Tactile and Visual Picture
"The "Picturesque" and its Opposite"
Synthesis
Historical and National Characteristics
Drawing
Painting
Painting and Drawing-Examples
Sculpture
General Remarks-Examples
Architecture
General Remarks
II. PLANE AND RECESSION
Painting
General Remarks
The Characteristic Motives
Subject Matter
Historical and National Characteristics
Sculpture
Architecture
III. CLOSED AND OPEN FORM
Painting
General Remarks
The Principal Motives
Subject Matter
Historical and National Characteristics
Sculpture
Architecture
IV. MULTIPLICITY AND UNITY
Painting
General Remarks
The Principal Motives
Subject Matter
Historical and National Characteristics
Architecture
General Remarks-Examples
V. CLEARNESS AND UNCLEARNESS
Painting
General Remarks
The Principal Motives
Subject Matter
Historical and National Characteristics
Architecture
CONCLUSION
External and Internal History of Art
Forms of Imitation and Decoration
The Why of the Development
Periodicity of the Development
The Problem of Recommencement
National Characteristics
Shifting of the Centre of Gravity