The Place of the Viewer : The Embodied Beholder in the History of Art, 1764-1968.
Houston, Kerr.
The Place of the Viewer : The Embodied Beholder in the History of Art, 1764-1968. - 1st ed. - 1 online resource (282 pages)
Intro -- Contents -- Acknowledgements -- Figures -- Introduction -- 1 "A Hundred Different Points of View": Baudelaire and the Place ofthe Viewer -- 2 A Brief Prehistory of Interest in the Physical Viewer -- 3 The Place of the Viewer: Perspectives and Approaches -- Chapter 1 The Communicative Viewpoint: Photography, Frontality, and Multiplicity in the 1800s -- 1 Art History, Distance, and the Photograph -- 2 "When a Choice Has Been Made": Talbot, Ruskin, and the Place of the Photographer -- 3 Photography as Language: Subjective and Objective Viewpoints in the 1850s -- 4 Constructed Viewpoints: Art History, Photography, and Related Discourses, 1860-1880 -- 5 Remote Viewing: Connoisseurship and Photography in the Late 1800s -- 6 The Appeal of die reine Frontansicht: German-language Scholarship in the 1890s -- 7 The Center Cannot Hold: Multiple Viewpoints in the Early 1900s -- 8 Conclusion -- Chapter 2 The Beholder in Motion: Kinetic Viewership -- 1 Introduction: Recent Assertions about Kinetic Viewership -- 2 Landskips and Kinema: towards a Prehistory of the Kinetic Viewer -- 3 Freud and Moses, Empathy and Kinesis -- 4 Space, Time, and the Work of Art in the 1920s and 1930s -- 5 Motion and Nomenclature: the Arrival of the Kinetic Viewer -- 6 Conclusion -- Chapter 3 The Body Physical, the Body Politic: Incorporated Viewership in the 1960s -- 1 Sides at War: Viewership and the Viewer in the 1960s -- 2 The Active Viewer: Politics and Artistic Discourses, c. 1960 -- 3 Embodied Poses: Leo Steinberg and Kinesthetic Empathy -- 4 Ideas in Translation: Gestalt Theory and Phenomenology -- 5 The Place of the Viewer in 'Art and Objecthood' -- 6 Conclusion -- Epilogue Art History and the Place of the Viewer since 1968 -- 1 The "Idea of the Spectator": Theorizations of the Audience, c. 1972 -- 2 The Persistent Centrality of the Viewer -- Bibliography -- Index.
In The Place of the Viewer, Kerr Houston offers a richly detailed chronological overview of art historians' evolving attempts to account for the physical position of the viewer in discussing works of art.
9789004400535
Art-Psychology.
Art criticism-History.
Electronic books.
N71 .H687 2019
700.1
The Place of the Viewer : The Embodied Beholder in the History of Art, 1764-1968. - 1st ed. - 1 online resource (282 pages)
Intro -- Contents -- Acknowledgements -- Figures -- Introduction -- 1 "A Hundred Different Points of View": Baudelaire and the Place ofthe Viewer -- 2 A Brief Prehistory of Interest in the Physical Viewer -- 3 The Place of the Viewer: Perspectives and Approaches -- Chapter 1 The Communicative Viewpoint: Photography, Frontality, and Multiplicity in the 1800s -- 1 Art History, Distance, and the Photograph -- 2 "When a Choice Has Been Made": Talbot, Ruskin, and the Place of the Photographer -- 3 Photography as Language: Subjective and Objective Viewpoints in the 1850s -- 4 Constructed Viewpoints: Art History, Photography, and Related Discourses, 1860-1880 -- 5 Remote Viewing: Connoisseurship and Photography in the Late 1800s -- 6 The Appeal of die reine Frontansicht: German-language Scholarship in the 1890s -- 7 The Center Cannot Hold: Multiple Viewpoints in the Early 1900s -- 8 Conclusion -- Chapter 2 The Beholder in Motion: Kinetic Viewership -- 1 Introduction: Recent Assertions about Kinetic Viewership -- 2 Landskips and Kinema: towards a Prehistory of the Kinetic Viewer -- 3 Freud and Moses, Empathy and Kinesis -- 4 Space, Time, and the Work of Art in the 1920s and 1930s -- 5 Motion and Nomenclature: the Arrival of the Kinetic Viewer -- 6 Conclusion -- Chapter 3 The Body Physical, the Body Politic: Incorporated Viewership in the 1960s -- 1 Sides at War: Viewership and the Viewer in the 1960s -- 2 The Active Viewer: Politics and Artistic Discourses, c. 1960 -- 3 Embodied Poses: Leo Steinberg and Kinesthetic Empathy -- 4 Ideas in Translation: Gestalt Theory and Phenomenology -- 5 The Place of the Viewer in 'Art and Objecthood' -- 6 Conclusion -- Epilogue Art History and the Place of the Viewer since 1968 -- 1 The "Idea of the Spectator": Theorizations of the Audience, c. 1972 -- 2 The Persistent Centrality of the Viewer -- Bibliography -- Index.
In The Place of the Viewer, Kerr Houston offers a richly detailed chronological overview of art historians' evolving attempts to account for the physical position of the viewer in discussing works of art.
9789004400535
Art-Psychology.
Art criticism-History.
Electronic books.
N71 .H687 2019
700.1