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Repainting the work of another into one's own canvas is a deliberate and often highly fraught act of reuse. This book examines the creation, display, and reception of such images.

This book aims to redefine Australia's earliest art history by chronicling for the first time the birth of the category "Aboriginal art," tracing the term's use through published literature in the late eighteenth, nineteenth and early twentieth centuries.

This book analyzes the relationship between art historical discourses, power, and the concept of Europe since 1945 from a critical, de-centered perspective.

This book is devoted to the concept of horizontal art history¿a proposal of a paradigm shift formulated by the Polish art historian Piotr Piotrowski (1952¿2015)¿that aims at undermining the hegemony of the discourse of art history created in the Western world.

In the mid-1880s, an influential British architectural journal published an article characterizing Renaissance architecture as a corruption of classical architecture. By the turn of the century, however, the same journal praised the Renaissance architect Filippo Brunelleschi as the 'Christopher Columbus of modern architecture.

This book aims to redefine Australia's earliest art history by chronicling for the first time the birth of the category "Aboriginal art," tracing the term's use through published literature in the late eighteenth, nineteenth and early twentieth centuries.

During the period in which Expressionist artists were active in central Europe, art historians were producing texts which also began to be characterized evocatively as ’expressionist’, yet the notion of an expressionist art history has yet to be fully explored in historiographic studies of the discipline. This anthology offers a cross-section of noteworthy art history texts that have been described as expressionist, along with critical commentaries by an international group of scholars. Written between 1912 and 1933, the primary sources have been selected from the published scholarship of both recognized and less-familiar figures in the field''s Germanic tradition: Wilhelm Worringer, Fritz Burger, Ernst Heidrich, Max Dvořák, Heinrich Wölfflin, and Carl Einstein. Translated here for the first time, these examples of an expressionist turn in art history, along with their secondary analyses and the book''s introduction, offer a productive lens through which to re-examine the practice and theory of art history in the early twentieth century.

Essays in this volume emphasize questions of transcultural encounters and exchanges as circulations, and provide an overview of current research on issues of circulation in relation to global art history and the globalization of art past and present. They offer a variety of approaches to the treatment of different periods, regions, and objects, surveying both questions of historiography and methodology and presenting individual case studies.

Featuring some of the major voices in the world of art history, this volume explores the methodological aspects of comparison in the historiography of the discipline. The essays assess the strengths and weaknesses of the comparative practice in the history of art, and consider the larger issue of the place of the comparative in how art history may develop in the future.

Using a range of theoretical perspectives, this book offers a study on key issues such as temporality, theatricality, word-and-image relations, the narrative function of inanimate objects, the role played by viewers, and the ways in which visual narrative has been bound up with history painting.

Essays in this volume emphasize questions of transcultural encounters and exchanges as circulations, and provide an overview of current research on issues of circulation in relation to global art history and the globalization of art past and present. They offer a variety of approaches to the treatment of different periods, regions, and objects, surveying both questions of historiography and methodology and presenting individual case studies.

Without question, the tache (blot, patch, stain) is a central and recurring motif in nineteenth-century modernist painting. Manet's and the Impressionists' rejection of academic finish produced a surface where the strokes of paint were presented directly, as patches or blots, then indirectly as legible signs. Cezanne, Seurat.

In Alois Riegl in Vienna 1875-1905, Diana Cordileone applies standard methods of cultural and intellectual history for close readings of Riegl's published texts, several of which are still unavailable in English.

Offering cultural, historical and literary readings of the responses to Italian Old Master art by early nineteenth-century writers, McCue illuminates the important role these artworks played in shaping the themes that are central to our understanding of Romanticism. She argues that they informed the writing of Romantic period authors.

During the period in which Expressionist artists were active in central Europe, art historians were producing texts which were characterized as 'expressionist', yet the notion of an expressionist art history has yet to be fully explored in historiographic studies.

Celebrated connoisseur, drawings collector, print dealer, book publisher and authority on the art of antiquity, Pierre-Jean Mariette (1694-1774) was a pivotal figure in the eighteenth-century European art world. Focusing on the trajectory of Mariette's career.

Hailed as a brilliant theoretician, Voldemars Matvejs was a Latvian artist who spearheaded the Union of Youth, a dynamic group championing artistic change in Russia, 1910-14. This volume introduces Markov as an innovative and pioneering art photographer and assembles for the first time five of his most important essays.

Addressed to students of the image-both art historians and students of visual studies-this book investigates the history and nature of time in a variety of different environments and media as well as the temporal potential of objects.