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- W2001550933 abstract "Swiss art historian Heinrich Wölfflin (1864–1945) is credited for having first made use of double projection of lantern slides in lectures on art history in the early 1900s. While this bit of information is often mentioned, if at all, as of anecdotal value, it has arguably gained more weight in our own image-saturated culture. Wölfflin's lecture hall achievement is not only to virtually inaugurate for art history a systematic descriptive system based on photography, but also to perform pictures of art for the audience to understand art in artistic or visual rather than art historical terms. In order to explain and highlight the element of art in art, art is insufficient. The art-less facsimile of black-and-white photography is better suited for this purpose, by transforming the nuanced and materially captivating art object into a flat binary system of formal contrasts. This article reflects upon Wölfflin's pursuit of the aesthetic or “artistic” element in art by considering his very material and embodied laboratory teaching practice. I suggest that rather than treat Wölfflin as a hardcore formalist, he is better understood as a meta-artist, with the ultimate aim of developing the picture of art from pictures of art for all to see." @default.
- W2001550933 created "2016-06-24" @default.
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- W2001550933 date "2010-07-01" @default.
- W2001550933 modified "2023-09-23" @default.
- W2001550933 title "Developing the Picture: Wölfflin's Performance Art" @default.
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- W2001550933 doi "https://doi.org/10.2752/175145110x12700318320512" @default.
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