By Donald Preziosi, Claire Farago
"Art isn't What you're thinking that It Is" makes use of unique learn to provide a chain of severe incursions into the present kingdom of discussion at the notion of artwork, making show up what has been principally lacking or unsaid in these discussions. hyperlinks museology, historical past, concept, and feedback to the realities of latest social stipulations and indicates how they've got structurally functioned in numerous contexts. offers with divisive and arguable difficulties resembling blasphemy and idolatry, and the matter of creative fact. Addresses kinfolk among ecu notions approximately artwork and artifice and people constructed in different and particularly indigenous cultural traditions.
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Additional resources for Art Is Not What You Think It Is
The Flemish buffet here illustrated is an example of this transition, and may be contrasted with the French Gothic buffet referred to in the following paragraph. There is also in the central hall of the South Kensington Museum a plaster cast of a carved wood altar stall in the Abbey of Saint Denis, France: the pilasters at the sides have the familiar Gothic pinnacles, while the panels are ornamented with arabesques, scrolls, and an interior in the Renaissance style; the date of this is late in the fifteenth century.
And is one of the many valuable specimens given to the British Museum by its generous curator. Of the furniture of our own country previous to the eleventh or twelfth centuries we know but little. The habits of the Anglo-Saxons were rude and simple, and they advanced but slowly in civilisation until after the Norman invasion. To convey, however, to our minds some idea of the interior of a Saxon thane's castle, we may avail ourselves of Sir Walter Scott's antiquarian research, and borrow his description of the chief apartment in Rotherwood, the hospitable hall of Cedric the Saxon.
Thus in Italy there was, until the latter part of the fifteenth century, a mixture of Byzantine and Gothic of which we can see a capital example in the casts of the celebrated Pulpit in the Baptistry of Pisa, the date of which is 1260. The pillars are supported by lions, which, instead of being introduced heraldically into the design, as would be the case some two hundred years later, are bearing the whole weight of the pillars and an enormous superstructure on the hollow of their backs in a most impossible manner.
Art Is Not What You Think It Is by Donald Preziosi, Claire Farago