Revista de História da Arte (2012) N.º 10
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- Recensão: Georges Didi‑Huberman, "O que nós vemos, o que nos olha"Publication . Almeida, Cristina Vasconcelos de
- Recensão: Vítor Silva, Henrique Pousão – Infância, Experiência e História do DesenhoPublication . Ramos, Afonso
- Recensão: José Gil, A Arte como Linguagem – A “última lição”Publication . Almeida, Emília Pinto de
- Paula Rego: O tempo – passado e presente ou a pequena história da história da pinturaPublication . Rua, Susana; Barreto, Aura; Vieira, Agnelo
- Vítor Bastos: A audácia do pintorPublication . Almeida, Sílvia Lucas
- The names of things: terminology and the practice of art historyPublication . Vlachou, FoteiniThis paper aims to explore the ways in which standard art history terminology shapes the practice of art history by conditioning the interpretation of specific works of art and, in certain cases, the definition of a research subject (especially where questions of genre and periodization are concerned). Taking as a case study a painting by Georges de La Tour, the Peasant Couple Eating, I will argue that terms such as realism, realistic, naturalistic etc. used for its description and/or interpretation, far from constituting objective stylistic characterizations, shape our perception of the work in question. Bringing the question of social class to the center of the discourse on realism, I propose to show how the social divide between the painter and his subject matter (in this case, the peasants) is internalized in the painting’s style and meaning, and how it is fundamental for the understanding of its intentionality and function.
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