Isbn: 9780262043151 - the barbarian invasions: a genealogy of the history of art (october books) (33 resultados)

Hardback. Condición: Very Good. How the history of art begins with the myth of the barbarian invasion-the romantic fragmentation of classical eternity. The history of art, argues ric Michaud, begins with the romantic myth of the barbarian invasions. Viewed from the nineteenth century, the Germanic-led invasions of the Roman Empire in the fifth century became the gateway to modernity, seen not as a catastrophe but as a release from a period of stagnation, renewing Roman culture with fresh, northern blood-and with new art that was anti-Roman and anticlassical. Artifacts of art from then on would be considered as the natural product of "races" and "peoples" rather than the creation of individuals. The myth of the barbarian invasions achieved the fragmentation of classical eternity. This narrative, Michaud explains, inseparable from the formation of nation states and the rise of nationalism in Europe, was based on the dual premise of the homogeneity and continuity of peoples. Local and historical particularities became weapons aimed at classicism's universalism. The history of art linked its objects with racial groups-denouncing or praising certain qualities as "Latin" or "Germanic." Thus the predominance of linear elements was thought to betray a southern origin, and the "painterly" a Germanic or northern source. Even today, Michaud points out, it is said that art best embodies the genius of peoples. In the globalized contemporary art market, the ethnic provenance of works-categorized, for example, as "African American," "Latino," or "Native American"-creates added value. The market displays the same competition among "races" that was present at the foundation of art history as a discipline.…

hardcover. Condición: Fine. LIKE NEW!!! Has a red or black remainder mark on bottom/exterior edge of pages.

Hardback. Condición: Very Good. How the history of art begins with the myth of the barbarian invasion-the romantic fragmentation of classical eternity. The history of art, argues ric Michaud, begins with the romantic myth of the barbarian invasions. Viewed from the nineteenth century, the Germanic-led invasions of the Roman Empire in the fifth century became the gateway to modernity, seen not as a catastrophe but as a release from a period of stagnation, renewing Roman culture with fresh, northern blood-and with new art that was anti-Roman and anticlassical. Artifacts of art from then on would be considered as the natural product of "races" and "peoples" rather than the creation of individuals. The myth of the barbarian invasions achieved the fragmentation of classical eternity. This narrative, Michaud explains, inseparable from the formation of nation states and the rise of nationalism in Europe, was based on the dual premise of the homogeneity and continuity of peoples. Local and historical particularities became weapons aimed at classicism's universalism. The history of art linked its objects with racial groups-denouncing or praising certain qualities as "Latin" or "Germanic." Thus the predominance of linear elements was thought to betray a southern origin, and the "painterly" a Germanic or northern source. Even today, Michaud points out, it is said that art best embodies the genius of peoples. In the globalized contemporary art market, the ethnic provenance of works-categorized, for example, as "African American," "Latino," or "Native American"-creates added value. The market displays the same competition among "races" that was present at the foundation of art history as a discipline.…

hardcover. Condición: New.

hardcover. Condición: Very Good. Very Good Condition - May show some limited signs of wear and may have a remainder mark. Pages and dust cover are intact and not marred by notes or highlighting.

hardcover. Condición: Very Good. May have light to moderate shelf wear and/or a remainder mark. Complete. Clean pages.

hardcover. Condición: Like New. May have light shelf wear and/or a remainder mark. Complete. Clean pages.

Cloth. Condición: Very Good. Estado de la sobrecubierta: Very Good Dust Jacket. 270 pp. Tightly bound. Corners not bumped. Text is free of markings. No ownership markings. Remainder mark bottom fore-edge.

Hardcover with dustjacket, 270 pages; as new condition; clean and crisp; no internal marks. Foreign shipping may be extra.

Condición: New.

Hardcover. Condición: new. Hardcover. How the history of art begins with the myth of the barbarian invasion-the romantic fragmentation of classical eternity.The history of art, argues ric Michaud, begins with the romantic myth of the barbarian invasions. Viewed from the nineteenth century, the Germanic-led invasions of the Roman Empire in the fifth century became the gateway to modernity, seen not as a catastrophe but as a release from a period of stagnation, renewing Roman culture with fresh, northern blood-and with new art that was anti-Roman and anticlassical. Artifacts of art from then on would be considered as the natural product of "races" and "peoples" rather than the creation of individuals. The myth of the barbarian invasions achieved the fragmentation of classical eternity.This narrative, Michaud explains, inseparable from the formation of nation states and the rise of nationalism in Europe, was based on the dual premise of the homogeneity and continuity of peoples. Local and historical particularities became weapons aimed at classicism's universalism. The history of art linked its objects with racial groups-denouncing or praising certain qualities as "Latin" or "Germanic." Thus the predominance of linear elements was thought to betray a southern origin, and the "painterly" a Germanic or northern source. Even today, Michaud points out, it is said that art best embodies the genius of peoples. In the globalized contemporary art market, the ethnic provenance of works-categorized, for example, as "African American," "Latino," or "Native American"-creates added value. The market displays the same competition among "races" that was present at the foundation of art history as a discipline. How the history of art begins with the myth of the barbarian invasionthe romantic fragmentation of classical eternity. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.…

Hardback. Condición: New.

Hardcover. Condición: New.

Condición: New.

Condición: As New. Unread book in perfect condition.

Hardcover. Condición: Near Fine. Estado de la sobrecubierta: Near Fine. x, 270pp. Black paper-covered boards; silver titles on spine. 8vo. Volume is neat, clean, bright and tight throughout.Dust jacket has very light shelf wear.

Condición: New. This is a Brand-new US Edition. This Item may be shipped from US or any other country as we have multiple locations worldwide.

Condición: Brand New. New. US edition. Expediting shipping for all USA and Europe orders excluding PO Box. Excellent Customer Service.

Hardcover. Condición: Used; Very Good. **SHIPPED FROM UK** We believe you will be completely satisfied with our quick and reliable service. All orders are dispatched as swiftly as possible! Buy with confidence! Greener Books.

Condición: New. Brand New Original US Edition. Customer service! Satisfaction Guaranteed.

Condición: New.

Condición: New. 2019. Hardcover. . . . . .

Condición: New.

Hardcover. Condición: Fine. Estado de la sobrecubierta: Fine. 1st. 270 pages, illustrations, maps; 24 cm. Translated from the French. Tight, clean copy. Dust jacket protected in a mylar cover. A fine copy of the first printing. *** "How the history of art begins with the myth of the barbarian invasion--the romantic fragmentation of classical eternity. The history of art, argues Eric Michaud, begins with the romantic myth of the barbarian invasions. Viewed from the nineteenth century, the Germanic-led invasions of the Roman Empire in the fifth century became the gateway to modernity, seen not as a catastrophe but as a release from a period of stagnation, renewing Roman culture with fresh, northern blood--and with new art that was anti-Roman and anticlassical. Artifacts of art from then on would be considered as the natural product of 'races' and 'peoples' rather than the creation of individuals. The myth of the barbarian invasions achieved the fragmentation of classical eternity. This narrative, Michaud explains, inseparable from the formation of nation states and the rise of nationalism in Europe, was based on the dual premise of the homogeneity and continuity of peoples. Local and historical particularities became weapons aimed at classicism's universalism. The history of art linked its objects with racial groups-denouncing or praising certain qualities as 'Latin' or 'Germanic.' Thus the predominance of linear elements was thought to betray a southern origin, and the 'painterly' a Germanic or northern source. Even today, Michaud points out, it is said that art best embodies the genius of peoples. In the globalized contemporary art market, the ethnic provenance of works--categorized, for example, as 'African American,' 'Latino,' or 'Native American'--creates added value. The market displays the same competition among 'races' that was present at the foundation of art history as a discipline." - Publisher. *** CONTENTS: Introduction: the modern invention of barbarians: delusions of descent and the transmission of forms; From "national taste" to "racial style"; Self-mimesis and self-portrait gods; The barbarian invasions and the racialization of art history; A new barbarian: the artless Jew; Barbarian blood: heredity and style; Epilogue: the ethnicization of contemporary art. Size: 8vo. Collectible.…

Condición: New. 2019. Hardcover. . . . . . Books ship from the US and Ireland.

Hardcover. Condición: Brand New. 264 pages. 9.50x7.25x1.00 inches. In Stock.

hardcover. Condición: Very Good. Estado de la sobrecubierta: Very Good. First Edition. 1st edition, 1st printing with complete number line. Hardcover with very good dust-jacket. Clean and solid. No tears, stains, or odors. NOT a book club edition. NOT ex-library. Hand-wrapped and packaged in cardboard.…

Hardcover. Condición: new. Hardcover. How the history of art begins with the myth of the barbarian invasion-the romantic fragmentation of classical eternity.The history of art, argues ric Michaud, begins with the romantic myth of the barbarian invasions. Viewed from the nineteenth century, the Germanic-led invasions of the Roman Empire in the fifth century became the gateway to modernity, seen not as a catastrophe but as a release from a period of stagnation, renewing Roman culture with fresh, northern blood-and with new art that was anti-Roman and anticlassical. Artifacts of art from then on would be considered as the natural product of "races" and "peoples" rather than the creation of individuals. The myth of the barbarian invasions achieved the fragmentation of classical eternity.This narrative, Michaud explains, inseparable from the formation of nation states and the rise of nationalism in Europe, was based on the dual premise of the homogeneity and continuity of peoples. Local and historical particularities became weapons aimed at classicism's universalism. The history of art linked its objects with racial groups-denouncing or praising certain qualities as "Latin" or "Germanic." Thus the predominance of linear elements was thought to betray a southern origin, and the "painterly" a Germanic or northern source. Even today, Michaud points out, it is said that art best embodies the genius of peoples. In the globalized contemporary art market, the ethnic provenance of works-categorized, for example, as "African American," "Latino," or "Native American"-creates added value. The market displays the same competition among "races" that was present at the foundation of art history as a discipline. How the history of art begins with the myth of the barbarian invasionthe romantic fragmentation of classical eternity. Shipping may be from our Sydney, NSW warehouse or from our UK or US warehouse, depending on stock availability.…

Condición: As New. Unread copy in mint condition.

Condición: New. Brand New.