Christopher S. Wood – författare

An authoritative history of art history from its medieval origins to its modern predicamentsIn this wide-ranging and authoritative book, the first of its kind in English, Christopher Wood tracks the evolution of the historical study of art from the late middle ages through the rise of the modern scholarly discipline of art history. Synthesizing and assessing a vast array of writings, episodes, and personalities, this original account of the development of art-historical thinking will appeal to readers both inside and outside the discipline.The book shows that the pioneering chroniclers of the Italian Renaissance—Lorenzo Ghiberti and Giorgio Vasari—measured every epoch against fixed standards of quality. Only in the Romantic era did art historians discover the virtues of medieval art, anticipating the relativism of the later nineteenth century, when art history learned to admire the art of all societies and to value every work as an index of its times. The major art historians of the modern era, however—Jacob Burckhardt, Aby Warburg, Heinrich Wölfflin, Erwin Panofsky, Meyer Schapiro, and Ernst Gombrich—struggled to adapt their work to the rupture of artistic modernism, leading to the current predicaments of the discipline.Combining erudition with clarity, this book makes a landmark contribution to the understanding of art history.

An authoritative history of art history from its medieval origins to its modern predicamentsIn this authoritative book, the first of its kind in English, Christopher S. Wood tracks the evolution of the historical study of art from the late middle ages through the rise of the modern scholarly discipline of art history. Synthesizing and assessing a vast array of writings, episodes, and personalities, this original and accessible account of the development of art-historical thinking will appeal to readers both inside and outside the discipline. Combining erudition with clarity, this book makes a landmark contribution to the understanding of art history.

A new study of the early Renaissance portraitIn fourteenth-century Italy, ever more women and men—not only clergy but also laity—introduced their own portraits into sacred paintings. Images of modern supplicants, submissive and prayerful, shared space with the holy narratives. The portraits mimicked the first worshippers of Christ: Mary, the Three Magi, Mary Magdalene. At the same time, they modeled, for modern viewers, ideal involvement in the emotion-laden stories. In The Embedded Portrait, Christopher S. Wood traces these incursions of the real and profane into Florentine sacred painting between Giotto and Fra Angelico.The portraits not only intruded upon a sacred space, but also intervened in an artwork. The pressure exerted by the modern interlopers—their lives and experiences, implied by their portraits—threatened the formal closure that had served as a powerful symbolic form of the pact between God and humans. The Embedded Portrait reconstructs this art historical drama from the point of view of the artists rather than the patrons. Following clues left by Vasari, the book assigns a leading role to the painter Giottino, or “little Giotto.” Little-known today but highly regarded in his lifetime, Giottino proposed a new manner of painting that was later realized by Fra Angelico through his own innovative approach to the problem of the embedded portrait.Seeking not to stabilize the artworks but to extend their reach, the interpretations offered in The Embedded Portrait re-create and update the psychic and libidinal energies that gave rise to these works in the first place.