By Jeremy Tanner, Robin Osborne
Art's enterprise and paintings History re-articulates the connection of the anthropology of artwork to key methodological and theoretical ways in paintings heritage, sociology, and linguistics.
• Explores vital techniques and views within the anthropology of paintings
• comprises 9 groundbreaking case reports by means of an the world over popular workforce of paintings historians and artwork theorists
• Covers quite a lot of sessions, together with Bronze-Age China, Classical Greece, Rome, and Mayan, in addition to the fashionable Western global
• positive factors an introductory essay via prime specialists, which is helping make clear concerns within the box
• contains quite a few illustrations
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Additional info for Art's Agency and Art History
Kemp, ‘‘The Egyptian 1st dynasty royal cemetery,’’ Antiquity 41 (1967), pp. 22–32, and, with further references, W. 2007 2:19pm Compositor Name: SJoearun Enchantment and Sacrifice in Early Egypt 41 12 13 14 15 16 17 18 19 20 21 22 23 W. K. Simpson (New Haven, 1998), pp. 17–18, 255 n. 14; D. Wengrow, The Archaeology of Early Egypt: Social Transformations in North-East Africa, 10,000–2,650 BC (Cambridge, 2006). html. , A. J. Spencer, Death in Ancient Egypt (Harmondsworth, 1982), p. 166. W. M. F. Petrie, The Royal Tombs of the Earliest Dynasties, Part II, Egypt Exploration Fund Memoir 21 (London, 1901), pl.
J. T. ’’ October 77 (1996), pp. 71–82. 39 M. Fried, Absorption and Theatricality: Painting and the Beholder in the Age of Diderot (Berkeley, CA, 1980). 40 Bal and Bryson, ‘‘Semiotics,’’ p. 193. , p. 199. 42 A. Effimova, ‘‘ ‘To touch on the raw’: the aesthetic affections of socialist realism,’’ Art Journal, Spring (1997), pp. 72–80. 43 Preziosi, Rethinking, p. 49. 44 Bal and Bryson, ‘‘Semiotics,’’ p. 179. 45 C. , The Vienna School Reader: Politics and Art Historical Method in the 1930’s (New York, 2000), pp.
Gell develops his analysis of images to which supernatural power is ascribed in a subsequent chapter concerned with idolatry. Although created in very different circumstances to the Muamba tree image, the wax model, written name, portrait, or other object which is made to stand for a person so that what is done to the object may happen to the person, can be seen to rely on a process of abduction of agency which is essentially parallel to that involved in the case of the nail fetish. Gell goes on to show that this process is parallel also to that involved in the worship of idols, and indeed to all religious worship: ‘‘Since, in this world, God’s presence is inherent in .
Art's Agency and Art History by Jeremy Tanner, Robin Osborne