By Paul Smith, Carolyn Wilde
The better half presents an available serious survey of Western visible paintings thought from assets in Classical, Medieval and Renaissance notion via to modern writings.
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Extra resources for A Companion to Art Theory (Blackwell Companions in Cultural Studies)
The medievals found Vitruvius congenial for several reasons. First, he considered architecture to be a universal art, the one which gathered all the other arts, and indeed all human learning, under its wing. For the medievals, this was one way of validating their practice of bringing all their arts into the House of God: painting, sculpture, stonework, woodwork, ironwork, stained glass, music, eloquence and the poetry of scripture, the richness of vestments and sacred vessels – even, in later centuries, the theatre.
Yale University Press Snyder, Joel (1980) ‘Picturing vision’, Critical Enquiry, 6, 499–526 White, John (1967) The Birth and Rebirth of Pictorial Space, Faber 18 A Companion to Art Theory Edited by Paul Smith, Carolyn Wilde Copyright © 2002 by Blackwell Publishers Ltd Chapter 1 The Classical Concept of Mimesis Göran Sörbom Fine art is not eternal and constant but culturally dependent. As such it has been produced, described and explained in different ways. Antiquity did not have the concept of Fine Art.
The soul was commonly regarded as without contingent properties which made it non-perceptible. 10). So, the claim for lifelikeness was far from a wish for a realistic ‘copying of individual things’ but a wish to represent man’s most valuable property, namely that of being a living body–soul unit. 22): ‘[Are] not the more lifelike statues the more beautiful ones, even if the others are better proportioned? [. ’ The ability to represent the body–soul unit is the remarkable innovation of the classical period which changed the whole history of picture-making and picture-understanding.