By Heinrich Wölfflin
Conceptos fundamentales de los angeles historia del arte responde a l. a. necesidad de ordenar y conceptuar l. a. gran cantidad de hechos y datos que surgen en el estudio del arte y su evolución histórica. A través de un rico análisis comparativo entre obras del Renacimiento y del Barrco, el crítico suizo Heinrich Wölfflin (1864-1945) llega a l. a. caracterización de los dos estilos por l. a. generalización de sus diferencias, que formulation por pares de conceptos contrapuestos: lo lineal enfrentado a lo pictórico, lo superficial a lo profundo, l. a. forma abierta a los angeles cerrada, los angeles pluralidad frente a los angeles unidad, l. a. claridad absoluta ante su atenuación como intento de concentrar y dirigir l. a. percepción. Estas diferencias caracterizan tanto el estilo own de un artista como un estilo de época. Wölfflin intenta así establecer las pautas para una Historia del Arte en los angeles que se pueda seguir en sus distintas fases l. a. génesis de l. a. visión moderna en todas sus manifestaciones: pintura, escultura, decoración y arquitectura. Un libro clásico y de utilidad permanente por el entrenamiento que, con su capacidad analítica, proporcionará no solo a los estudiosos del arte, sino a los que simplemente quieran aprender a disfrutar de él.
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Researchers using the Proquest Newspapers search engine will find the same article on page 137. 5. Quoted by Robert S. htm (accessed 9 August 2004). 6. LACMA’s former New Talent Award was conceived as a way to recognize emerging artists in the greater Los Angeles area through an annual purchase award conferred upon two or three artists out of hundreds of applicants. In the mid-1960s and ’70s the $3,000 grant was enough to pay a year’s rent on a studio space—a substantial subsidy to the artist that had the intended effect of helping to keep artists rooted in Los Angeles rather than moving to New York.
Can we say that there are elements of contemporary art that fail the art in the domain of the moca yet are preserved at the museum that possesses a longer view?
How much “authority” do they in fact have? How much do they want, even in theory? Is it beneficial to museums, or to the public they serve, to propagate the notion that museums have a “sacred trust”? This idealized vision of museums tends to cast the museum as a reliquary, a mausoleum, a shrine to the past and the supremacy of its material culture. Conceiving the museum on such a model serves to discount the actual involvement that a museum might claim with the culture of the present, or even of the future.