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| 001 | EBC5842348 | ||
| 003 | MiAaPQ | ||
| 005 | 20240724113847.0 | ||
| 006 | m o d | | ||
| 007 | cr cnu|||||||| | ||
| 008 | 240724s2019 xx o ||||0 eng d | ||
| 020 |
_a9789004400535 _q(electronic bk.) |
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| 020 | _z9789004400238 | ||
| 035 | _a(MiAaPQ)EBC5842348 | ||
| 035 | _a(Au-PeEL)EBL5842348 | ||
| 035 | _a(OCoLC)1096213733 | ||
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_aMiAaPQ _beng _erda _epn _cMiAaPQ _dMiAaPQ |
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| 050 | 4 | _aN71 .H687 2019 | |
| 082 | 0 | _a700.1 | |
| 100 | 1 | _aHouston, Kerr. | |
| 245 | 1 | 4 |
_aThe Place of the Viewer : _bThe Embodied Beholder in the History of Art, 1764-1968. |
| 250 | _a1st ed. | ||
| 264 | 1 |
_aBoston : _bBRILL, _c2019. |
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| 264 | 4 | _c©2019. | |
| 300 | _a1 online resource (282 pages) | ||
| 336 |
_atext _btxt _2rdacontent |
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| 337 |
_acomputer _bc _2rdamedia |
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| 338 |
_aonline resource _bcr _2rdacarrier |
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| 505 | 0 | _aIntro -- 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. | |
| 520 | _aIn 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. | ||
| 588 | _aDescription based on publisher supplied metadata and other sources. | ||
| 590 | _aElectronic reproduction. Ann Arbor, Michigan : ProQuest Ebook Central, 2024. Available via World Wide Web. Access may be limited to ProQuest Ebook Central affiliated libraries. | ||
| 650 | 0 | _aArt-Psychology. | |
| 650 | 0 | _aArt criticism-History. | |
| 655 | 4 | _aElectronic books. | |
| 776 | 0 | 8 |
_iPrint version: _aHouston, Kerr _tThe Place of the Viewer _dBoston : BRILL,c2019 _z9789004400238 |
| 797 | 2 | _aProQuest (Firm) | |
| 856 | 4 | 0 |
_uhttps://ebookcentral.proquest.com/lib/orpp/detail.action?docID=5842348 _zClick to View |
| 999 |
_c12204 _d12204 |
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