| Record ID | marc_uic/UIC_2022.mrc:15521699:4622 |
| Source | marc_uic |
| Download Link | /show-records/marc_uic/UIC_2022.mrc:15521699:4622?format=raw |
LEADER: 04622cam a22005891i 4500
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041 1 $aeng$hger
043 $ae------
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050 00 $aN5300$b.W82 1950
055 0 $aN5300$b.W82
082 00 $a709
100 1 $aWölfflin, Heinrich,$d1864-1945.
240 10 $aKunstgeschichtliche Grundbegriffe.$lEnglish
245 10 $aPrinciples of art history :$bthe problem of the development of style in later art /$cby Heinrich Wölfflin ; translated by M.D. Hottinger.
260 $a[New York] :$b[Dover Publications],$c[1950, ©1932.]
300 $axvi, 237 pages :$billustrations ;$c24 cm
336 $atext$btxt$2rdacontent
337 $aunmediated$bn$2rdamedia
338 $avolume$bnc$2rdacarrier
490 1 $aDover books on art history
504 $aIncludes bibliographical references.
505 0 $aIntroduction : The double root of style: The most general representational forms ; Imitation and decoration -- Linear and painterly : General ; Drawing ; Painting ; Sculpture ; Architecture -- Plane and recession : Painting ; Sculpture ; Architecture -- Closed and open form : Painting ; Sculpture ; Architecture -- Multiplicity and unity : Painting ; Architecture -- Clearness and unclearness : Painting ; 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.
520 $aWhat 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.
650 0 $aArt$xHistory.
650 6 $aArt$xHistoire.
650 7 $aArt.$2fast$0(OCoLC)fst00815177
650 7 $aArte (Historia)$2larpcal
650 7 $aArt$xHistory.$2nli
653 0 $aArt
655 7 $aHistory.$2fast$0(OCoLC)fst01411628
700 1 $aHottinger, Mary,$etranslator.
776 08 $iOnline version:$aWölfflin, Heinrich, 1864-1945.$sKunstgeschichtliche Grundbegriffe. English.$tPrinciples of art history.$d[New York] Dover Publications [194-?]$w(OCoLC)647041216
830 0 $aDover books on art history.
938 $aBaker & Taylor$bBKTY$c12.95$d9.71$i0486202763$n0000093163$sactive
938 $aBrodart$bBROD$n51048426$c$12.95
938 $aYBP Library Services$bYANK$n432522
945 $aLBD data change$b01/28/2022
959 $a(UICdb)368610$9LOCAL
994 $a92$bUIU