I would be ve­ry ca­re­ful there be­cause al­most all of the ideas in that book come from art his­to­ry, es­pe­cial­ly from the art his­to­rians who came to Ame­ri­ca from Eu­rope, star­ting with Witt­ko­wer , Fried­lan­der, Ju­lius Held, and on­to Meyer Sha­pi­ro and the na­tive

Art Press - - LONG VIEW -

But what you have pul­led out from all that is a way of thin­king about the for­mal re­la­tion­ships in those pain­tings, as op­po­sed to a kind a more nar­ra­tive or sub­ject mat­ter ba­sed rea­ding. Which goes back to what you see is what you see. Do you think that's a skill that's be­gin­ning to atro­phy, say, for ins­tance in contem­po­ra­ry art cri­ti­cism?


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