Sachgebiete

Beschreibung:

347 S. und S. 348-708; 21 cm; kart.

Bemerkung:

Gute Exemplare / 2 BÄNDE. - Genglisch; griechisch. // "The purpose of this study is to Isolate, define, and place in an historical setting the terminology developed by the ancient Greeks for the criticism of their own sculpture, painting and architecture. Fart I of the dissertation is devoted to a discussion , of the ancient sources in which this terminology is now preserved. The most Important traces of a coherent, critical history of Greek art occur, In Latin translation, In the writings of the Roman authors Cicero, Quintilian, and the Elder Pliny. The material preserved by these authors is derived, for the most part, from Hellenistic Greek writers, of whom the most important appear to be Xenocrates and Paslteles, both discussed in detail. Three types of art criticism are Immediately apparent in the works of these -Hellenistic writers- "professional criticism",based on tha .technical and theoretical writings of practicing artists; formal theories of aesthetics promulgated by the various .philosophical schools; and "popular criticism",occurring primarilly in anecdotes and legends about the lives of famous artists. Writings in the first two of those catagories (i.e."professional criticism",such as the Canon of Polycleltus, and philosophical discussions of aesthetics, as in the writings of Plato and Xenophon) were extent well before the Helleniatic Period. The content of such writings and their Influence on the Hellenistic art historians are discussed in detail. Part 1 concludes with a discussion of the Greek writers on art during the time of the Roman Bnplre. Part II, the main section of the dissertation, consists of a catalogue of testlmonia from ancient authors illustrating the use of thirty-three Greek terms and sixty-six Latin terms In connection with the visual arts. The terms in tha catalogue are arranged alphabetically (the Greek terms coming first, followed by'the Latin) and a commentary on the history and meaning of each term follows the collection of testimonia under each entry.- The possible Greek prototypes of which ths Latin terms appear to be translations are also studied in every ease where evidence Is available. Fart III Is devoted to a general statement of tha conclusions which can be drawn from the evidence collected in the catalogue in Part II. The history of the terminology, and consequently Of the thought of "professional criticism" Is summarized as is the contribution made to both the terminology and history of Greek art criticism by the various philosophical schools,especially the Academy, the Peripatetics, and the Middle 3toa. A new category of criticism, called . "literary and rhetorical criticism" ia introduced to account for the use of terms which critics of the visual arts contributed to or borrowed from other disciplines,especially rhetoric Finally, the terminology and standards of 'popular criticism" are summarized, and the few traces of what may be considered specifically Roman art criticism, as opposed to Greek, are discussed. A final section in Fart III offers some suggestions about basics trends in the history of the visual arts in ancient Greece. If any single trend may be designated as characterizing this history as a whole, It is the shift from objectivity to subjectivity; from the preoccupation of professional criticism in the Classical Period with form and the means of controlling form to the preoccupation of the late Hellenistic connoisseur with tho beholder's evaluation of the form's apparent meaning." (Vorwort)