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Reflections on connoisseurship and computer vision
Get PDFIn digital art history, with the help of machine learning, connoisseurship is modelled as learning from examples. We show how this approach can lead to successful operationalisations of connoisseurial concepts on the one hand, and how it raises significant phenomenological and epistemological questions on the other
Art history scholarship between the 1820s and 1870s: contextualising the Eastlake library at the National Gallery, London
Get PDFSir Charles Lock Eastlake (1793-1865), the first Director of the National Gallery in London, was a figure of crucial significance in the shaping of art historical understanding in Britain between the 1820s and 1860s. His library, consisting of approximately 2,000 volumes, reflects his interests in the fields of attribution, provenance and the history of artistic techniques. This paper contextualises the Eastlake library by comparing its contents to the Catalogo ragionato dei libri d’arte e d’antichità posseduti dal conte Cicognara (1821), a watershed art bibliography. Eastlake’s library demonstrates his pragmatic and diligent approach to his work and echoes how Leopoldo Cicognara (1767-1834) constructed his collection. The comparative approach sheds light on how these collections intersected on a scholarly level and underlines points of divergence as they developed according to their owner’s aims. It is also hoped that this comparative approach will be applied to other collections, as mentioned within the article
Agency, affect and intention in art history: some observation
Get PDFRecent years have seen a notable growth of interest in the operations of affect and agency in art. Works of art are said to have agency, primarily through their impact on the affectivity of the spectator. This turn is an inflection of a wider phenomenon in the humanities, motivated by interest in the theory of affect. Although it has only recently gained visibility, one can trace an art historical interest in affect back to Aby Warburg, whose work emphasised the non-rational, emotional engagement with works of art. This article explores some of the claims that have been made in relation to affect and agency in art, but it also subjects them to critical scrutiny. What does it mean to talk about art having agency? What is its purported significance for art historical inquiry? To what extent does affect theory provide a convincing theoretical basis for the idea of artistic agency? Indeed, what is understood by the idea of agency in such accounts? The article argues that while there are many attested historical cases in which works of art are said to act as if they were agents, these have to be understood in terms of culturally framed attributions of agency, rather than a general theory of affect, which may have a purely tangential significance for art historical analysis
Under the Greek sky: New approaches to Winckelmann’s reception and historiography (Introduction to a Journal of Art Historiography Special section)
Get PDFA brief survey of the papers presented in the special section of the journal — Under the Greek sky: New approaches to Winckelmann’s reception and historiograph
John Ruskin and the National Gallery: evolving ideas about curating the nation’s paintings during the second half of the nineteenth century
Get PDFCodex Zacynthius: Table of Contents of the Lectionary
No full textThis webpage provides a key to the contents of the lectionary in Codex Zacynthius (Cambridge, University Library, MS Add. 10062; Gregory-Aland Lectionary 299).
It was produced by the Codex Zacynthius project in conjunction with the online edition in the Cambridge Digital Library at https://cudl.lib.cam.ac.uk/collections/codexzacynthius/1
It has been deposited in epapers in order to be linked from this electronic edition until it can be more fully incorporated in the edition. A printed version of this list is to be found in H.A.G. Houghton and D.C. Parker, ed., Codex Zacynthius: Catena, Palimpsest, Lectionary (Piscataway NJ: Gorgias, 2020)
Arrigoni, Giovanni Giacomo (1635) Concerti di camera (Venice, 1635). [Compositions]
Get PDFCritical edition of "Concerti di camera" by Giovanni Giacomo Arrigoni, Venice, 1635. English translations by John Whenham. Introduction by Pyrros Bamichas
Ruskin and South Kensington: contrasting approaches to art education
Get PDFThis article deals with Ruskin’s contribution to art education and training, as it can be defined by comparison and contrast with the government-sponsored art training supplied by (to use the handy nickname) ‘South Kensington’. It is tempting to treat this matter, and thus to dramatize it, as a personality clash between Ruskin and Henry Cole – who, ten years older than Ruskin, was the man in charge of the South Kensington system. Robert Hewison has commented that their ‘individual personalities, attitudes and ambitions are so diametrically opposed as to represent the longitude and latitude of Victorian cultural values’. He characterises Cole as ‘utilitarian’ and ‘rationalist’, as against Ruskin, who was a ‘romantic anti-capitalist’ and in favour of the ‘imaginative’. This article will set the personality clash in the broader context of Victorian art education
Codex Zacynthius: Concordance of Overtext and Undertext
No full textThis webpage provides a concordance to the overtext and undertext folia of Codex Zacynthius (Cambridge, University Library, MS Add. 10062; Gregory-Aland Lectionary 299). Each folio of the palimpsest undertext is constituted by two folios of the overtext.
It was produced by the Codex Zacynthius project in conjunction with the online edition in the Cambridge Digital Library at https://cudl.lib.cam.ac.uk/collections/codexzacynthius/1
It has been deposited in the ePapers repository in order to be linked from this electronic edition until it can be more fully incorporated in the edition. A printed version of this list is to be found in H.A.G. Houghton and D.C. Parker, ed., Codex Zacynthius: Catena, Palimpsest, Lectionary (Piscataway NJ: Gorgias, 2020)
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