Stephen Bann

Biographic Data

ID228059
NAMEStephen Bann
GIVEN NAMESStephen
FAMILY NAMEBann
SIGNATUREBANN S
AFFILIATIONSUniversity of Bristol
VERIFIEDNo
TOTAL WORKS60
TOTAL CITATIONS28
AUTHOR COUNT60
EDITOR COUNT0
FIRST PUBLICATION YEAR1968
LATEST PUBLICATION YEAR2023
H-INDEX2

  • Walter Pater and the Beginnings of English Studies

    Open AccessKenneth Daley, Lene Østermark‐Johansen et al.BOOKWalter Pater and the Beginnings…2023

    Walter Pater's significance for the institutionalization of English studies at British universities in the nineteenth century is often overlooked. Addressing the importance of his volume Appreciations (1889) in placing English literature in both a national and an international context, this book demonstrates the indebtedness of the English essay to the French tradition and brings together the classic, the Romantic, the English and the European. W…

  • Le musée: Une histoire mondiale , 3 vols., i : Du trésor au musée ; ii : L’ancrage européen ; iii : À la conquête du monde

    Open AccessStephen BannARTICLEJournal of the History of…2023

    Journal Article Le musée: une histoire mondiale, 3 vols., i: Du trésor au musée; ii: L'ancrage européen; iii: À la conquête du monde Get access Krzysztof Pomian, Le musée: une histoire mondiale, 3 vols., i: Du trésor au musée; ii: L'ancrage européen; iii: À la conquête du monde. Paris, Gallimard, 2020–22. isbn 978-2-07-299570-5. 2,208 pp., 380 illus. €115. Stephen Bann Stephen Bann UK [email protected] Search for other works by this author on:…

  • Extra Special Illustration

    Open AccessStephen BannARTICLEArt History2019

  • Reading back from Experimental Painting

    Stephen BannARTICLEInterdisciplinary Science Reviews2017

    My book, Experimental Painting (1970), was the product of a decade of coming to terms with the history of modern art and with contemporary manifestations of the avantgarde. While at Cambridge from 1960 to 1967, I published art criticism, initially in locally published magazines, and then went on to review art exhibitions both nationally and internationally. This led to being co-editor of Form, which produced further opportunities. The term ‘exper…

  • Hubert Damisch e Stephen Bann: Uma Conversa

    Open AccessHubert Damisch, Stephen BannARTICLEARS (São Paulo2016

    Discípulo de Merleau-Ponty e Pierre Francastel, Hubert Damisch (1928) marca presença decisiva na renovação epistemológica da disciplina história da arte, franqueando-a às contribuições da psicanálise, da filosofia, da antropologia e da semiótica, e conferindo a ela inédita envergadura teórica, para muito além das demarcações tradicionais de competência que a separam da teoria da arte. Tendo sido músico de jazz na juventude e se dedicado inicialme…

  • Performing Sculpture

    Open AccessStephen BannARTICLEArt History2014

  • Two Kinds of Historicism: Resurrection and Restoration in French Historical Painting

    Stephen BannARTICLEJournal of the Philosophy of…2010

    The historicist approach is rarely challenged by art historians, who draw a clear distinction between art history and the present-centred pursuit of art criticism. The notion of the ‘period eye’ offers a relevant methodology. Bearing this in mind, I examine the nineteenth-century phase in the development of history painting, when artists started to take trouble over the accuracy of historical detail, instead of repeating conventions for portrayin…

  • A New Orientalism

    Open AccessStephen BannARTICLEHistory and Theory2010

    Jean-Louis Schefer's study takes as its point of departure Uccello's predella, Profanation of the Host. The painting in question has generally been interpreted within the context of medieval anti-Semitism. However, Schefer argues that the meaning of the work, and of numerous other representations of this particular miracle, must be referred ultimately to the codification by Charlemagne of the dogma of the Real Presence. Uccello's painting in effe…

  • When I Was a Photographer: Nadar and History

    Open AccessStephen BannARTICLEHistory and Theory2009Cited by: 2

    This paper takes as its point of departure Roland Barthes's proposition in La Chambre claire that the nineteenth century "invented History and Photography," that the era of photography is one of revolutions, and that the photograph's "testimony" has diminished our capacity to think in terms of "duration." Barthes also asserts that the French photographer Nadar is "the greatest photographer in the world," but takes no account of Nadar's acute rece…

  • The Studio as a Scene of Emulation: Marceline Desbordes-Valmore's l'Atelier d'UN Peintre

    Stephen BannARTICLEFrench Studies2007References: 1

    It is just one more of the misfortunes that have dogged the career of Marceline Desbordes-Valmore, in her life-time and posthumously, that Roland Barthes should have captioned her portrait photograph by Nadar in La Chambre claire: ‘Marceline Desbordes-Valmore reproduit sur son visage la bonté un peu niaise de ses vers’.1 Evidently, for Barthes, the photograph gives us no more than we expected from the poet, but ought we to anticipate the same mea…

  • Histoire de l'histoire de l'art en Grande-Bretagne: Grandes Tendances Et Nouveaux Débats

    Open AccessStephen Bann, Nicholas Penny et al.ARTICLEPerspective2007References: 1

    Stephen Bann | Histoire de l'histoire de l'art en Grande-Bretagne : grandes tendances et nouveaux debats Apres l'apport des historiens de l'art europeens arrives en Angleterre dans les annees 1930, ou en est l'histoire de l'art en Grande-Bretagne ? Pour comprendre l'evolution recente de l'historiographie britannique (ou anglo-saxonne ?), s'est rapidement impose l'interet de traduire l'article de Stephen Bann (« The History of Art History in Brita…

  • Paul Delaroche's Early Work in the Context of English History Painting

    Stephen BannARTICLEOxford Art Journal2006

    Journal Article Paul Delaroche's Early Work in the Context of English History Painting Get access Stephen Bann Stephen Bann Search for other works by this author on: Oxford Academic Google Scholar Oxford Art Journal, Volume 29, Issue 3, October 2006, Pages 341–369, https://doi.org/10.1093/oxartj/kcl015 Published: 01 October 2006

  • Hubert Damisch and Stephen Bann: A Conversation

    Hubert Damisch, Stephen BannARTICLEOxford Art Journal2005Cited by: 1

    Revised and corrected by Hubert Damisch, January 2005 B. Let me begin recalling that it is nearly thirty years since I began to be involved publishing your work in English. The very first occasion was when I published a translation of your article on Klee's ‘Equals Infinity' in the Visual Poetics number of 20th Century Studies, in 1976. It was also around then that I read Theory of /cloud/, which has now finally been brought out in translation by…

  • Ritual: Confronting Benjamin

    Stephen BannCHAPTERMapping Benjamin2003

  • Martin family (iii)

    Stephen BannCHAPTER2003

  • Martin, Mary

    Stephen BannCHAPTER2003

  • Baljeu, Joost

    Stephen BannCHAPTER2003

  • Pasmore, Victor

    Stephen BannCHAPTER2003

  • Finlay, Ian Hamilton

    Stephen BannCHAPTER2003

  • Groupe de Recherche d’Art Visuel

    Stephen BannCHAPTER2003

  • Martin, Kenneth

    Stephen BannCHAPTER2003

  • Arcadia as Utopia in Contemporary Landscape Design: The Work of Bernard Lassus

    Open AccessStephen BannARTICLEHistory of the Human Sciences2003

    This article considers the concept of the utopia from the point of view of garden design. It begins with an evocation of the `Jardin de Julie', the literary garden described in Rousseau and acutely analysed by Louis Marin. It then passes to a series of actual gardens created by the French contemporary designer Bernard Lassus, in which the use of landscape effects is seen as achieving similar dislocations of space and incitements to the imaginatio…

  • Remembering Louise Vernet

    Open AccessStephen BannARTICLEArt History2003

    This article follows the chance discovery of a ‘souvenir’ commemorating the death of the wife of the painter Paul Delaroche in 1845. It consists of an engraving of that date by Alphonse François, after Delaroche’s drawing of Louise in the form of a medallion (1843). It was dedicated to a close family friend, Héracle Fréteau de Pény, who included other mementoes of her life, including a lock of her hair, in the framed souvenir when he had put it t…

  • Questions of Genre in Early Nineteenth-Century French Painting

    Stephen BannARTICLENew Literary History2003

    This article looks specifically at the issue of genre as it was understood and debated in relation to painting in early nineteenth-century France. This was a period in which the traditional hierarchy of the genres, established with the foundation of the Academy under Louis XIV, was increasingly under attack. The supremacy of history painting, which traditionally obeyed a number of inflexible requirements as regards size, subject matter etc., was …

  • Photography, printmaking, and the visual economy in nineteenth-century France

    Stephen BannARTICLEHistory of Photography2002

    Early in his pioneering History of Photography, first published in 1955, Helmut Gernsheim breaks off from his consideration of Nicéphore Niépce, ‘the first photographer’, to warn the reader about the ‘confusing and at times even misleading’ terms in which the Niépce brothers discussed their experiments in the mid-1820s. As Gernsheim puts it, ‘the nomenclature of the older arts, especially of engraving, was drawn upon by the Niépces’.1 Nearly half…