Written in jargon-free, reader-friendly language, this is one of the first volumes to make art historical theory accessible to those at the introductory level. A review of contemporary theory of art history provides readers with lucid prose and concrete examples. Discussion of eighteenth- and nineteenth- century theories that are important to art history offers readers a review of historically important issues in philosophy. Illustrations of well-known works of art show readers how theory has application to images. Art historians and educators.
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From Library Journal
The current discipline of art history has undergone a number of changes through the years. This book is an attempt to track the evolution of its methodology and demonstrate why art history has been presented and taught, particularly in American academia. In the course of delineating this history, however, Minor confuses brevity for elegance. He mentions the standard authorities (e.g., Winckelmann, Riegl, Wolfflin, and Fry) and gives succinct coverage of Marxism, feminist theory, deconstruction, and semiotics. Yet, while his abbreviated summaries of the treatment of art from antiquity to the 18th century are good, important points seem to be telescoped and their relevance diminished. In addition, his concluding "Consequences for Art History" is astonishingly short. Meant for students and general readers, this work does not compare favorably with W. McAllister Johnson's Art History: Its Use and Abuse (Univ. of Toronto Pr., 1988), and the growth of the newer methodological approaches is better explained in The New Art History (Humanities Pr., 1988).
Paula A. Baxter, NYPL
Copyright 1994 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.
Paula A. Baxter, NYPL
Copyright 1994 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.
From the Publisher
Written in jargon-free, reader-friendly language, this is one of the first volumes to make art historical theory accessible to those at the introductory level.
--This text refers to an out of print or unavailable edition of this title.
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Most Helpful Customer Reviews
9 of 11 people found the following review helpful:
4.0 out of 5 stars
Art History's History,
By H. K. A (Idaho) - See all my reviews
This review is from: Art History's History (Hardcover)
This is a great little summary of the discipline of Art History. It's a concise & well-written overview of the place of Art in Western History and Academica, from Ancient Greece to 20th Century America. You'll find it to be an easy but very informative read. I highly recommend it to anyone with an interest in Western Art, Philosophy, and/or History.
1 of 1 people found the following review helpful:
4.0 out of 5 stars
Great book for beginning Art Histroy Graduate students.,
By Eli Hernandez, Jr (San Antonio, TX) - See all my reviews
This review is from: Art History's History (Paperback)
This book was required reading for my graduate Research Methods and Writing course. We used it in conjunction with Donald Preziosi's the Art of Art History. The combination of the two books is a great resource for anyone entering their MA in Art History. Art History's History is a helpful overall review of the different time periods. It is a good resource for reader-friendly art historical writings.
7 of 10 people found the following review helpful:
3.0 out of 5 stars
reductive, but still very useful,
By A Customer
This review is from: Art History's History (Paperback)
Minor has undertaken the impossible. Any historiography that is limited to 200 pages will undoubtedly be overly reductive. However, this does not entirely discredit Minor's work. While one may take issue with him in a number of places (particularly his chapter on feminism) he provides a generally well-balanced, user-friendly introduction to theories of modern scholarship. Minor is very cognizant of his own fallibility. He recognizes that his sketches of modern methodologies are inadequate. But he provides the necessary background for anyone who wishes to understand the state of contemporary art history. At the conclusion of this book the reader is left unsatisfied. Yet I think that this may have been Minor's intent (I realize I am being a terrible deconstructionist). His aim, rather, seems to be to ignite an interest in students of art history, that they might, of their own volition, continue their study of art historical methodologies. If this is indeed Minor's aim, he succeeds.
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