Svetlana Alper
Biographic Data
| ID | 378041 |
|---|---|
| NAME | Svetlana Alper |
| GIVEN NAMES | Svetlana |
| FAMILY NAME | Alper |
| SIGNATURE | ALPER S |
| VERIFIED | No |
| TOTAL WORKS | 8 |
| TOTAL CITATIONS | 33 |
| AUTHOR COUNT | 8 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 1972 |
| LATEST PUBLICATION YEAR | 1996 |
| H-INDEX | 2 |
Visual Culture Questionnaire
1. It has been suggested that the interdisciplinary project of is no longer organized on the model of (as were the disciplines of art history, architectural history, film history, etc.) but on the model of anthropology. Hence, it is argued by some that visual culture is in an eccentric (even, at times, antagonistic) position with regard to the new art history with its social-historical and semiotic imperatives and models of context and text
Une idée juste: En visitant les galeries hollandaises du Grand Louvre
Rembrandt, un maître dans son atelier
Très tôt l'art de Rembrandt est apparu unique en soi. Si l'on prend deux portraits réalisés par des peintres hollandais, il ne semble guère difficile de dire lequel est de Rembrandt (fig. 1, 2). L'arrière-plan assombri ou obscur sur lequel le couple amoureux se détache pour apparaître en pleine lumière, la palette limitée, les teintes peu nombreuses modelées en une matière richement travaillée, et surtout la présence de ce couple immobile qui nou…
In Praise of Appearance
Holland without Huizinga: Dutch Visual Culture in the Seventeenth Century
L'œil de l'histoire: L'effet cartographique dans la peinture hollandaise au 17ème siècle
Das Auge der Geschichte. Ausgehend von der Stellung der Karte im Atelier von Vermeers lassen sich die Beziehungen zwischen Kartographie und Malerei im Holland des 17.Jahrhunderts darlegen. Gleich Karten, Atlanten und Bildern aller Art tragen die Landschaftsgemälde zur Welterkenntnis bei. Durch seinen spezifischen Bezug zur Erde und zur Darstellungsfläche, seine Aufmerksamkeit für Merkpunkte und seinen geographischen Blick für den bewohnten Raum d…
Describe or Narrate? A Problem in Realistic Representation
HEN GIOVANNI PIETRO BELLORI, the leading Roman art critic and theorist of the second half of the seventeenth century, came to write his Lives of the greatest artists of his time, he somewhat grudgingly, and against his taste, included an account of Caravaggio. He admitted Caravaggio's greatness but disputed his art. In Bellori's view Caravaggio's art was remarkable for its descriptive or imitative powers, though it offended by its emphasis on the…
Ut Pictura Noesis? Criticism in Literary Studies and Art History
ART HISTORY is one of the most prestigious fields in the humanities. On the two fronts on which it operates most powerfullythe study of style and the study of iconography-it has had great influence on other humanistic disciplines. We owe to Wilfflin our ideas about period style and to Male, Panofsky, Wind and others our knowledge of iconography, as both a cultural fact and a method of interpretation. Ever since Burckhardt, our consciousness and u…
Visual Culture Questionnaire
1. It has been suggested that the interdisciplinary project of is no longer organized on the model of (as were the disciplines of art history, architectural history, film history, etc.) but on the model of anthropology. Hence, it is argued by some that visual culture is in an eccentric (even, at times, antagonistic) position with regard to the new art history with its social-historical and semiotic imperatives and models of context and text
Describe or Narrate? A Problem in Realistic Representation
HEN GIOVANNI PIETRO BELLORI, the leading Roman art critic and theorist of the second half of the seventeenth century, came to write his Lives of the greatest artists of his time, he somewhat grudgingly, and against his taste, included an account of Caravaggio. He admitted Caravaggio's greatness but disputed his art. In Bellori's view Caravaggio's art was remarkable for its descriptive or imitative powers, though it offended by its emphasis on the…
In Praise of Appearance
L'œil de l'histoire: L'effet cartographique dans la peinture hollandaise au 17ème siècle
Das Auge der Geschichte. Ausgehend von der Stellung der Karte im Atelier von Vermeers lassen sich die Beziehungen zwischen Kartographie und Malerei im Holland des 17.Jahrhunderts darlegen. Gleich Karten, Atlanten und Bildern aller Art tragen die Landschaftsgemälde zur Welterkenntnis bei. Durch seinen spezifischen Bezug zur Erde und zur Darstellungsfläche, seine Aufmerksamkeit für Merkpunkte und seinen geographischen Blick für den bewohnten Raum d…
Ut Pictura Noesis? Criticism in Literary Studies and Art History
ART HISTORY is one of the most prestigious fields in the humanities. On the two fronts on which it operates most powerfullythe study of style and the study of iconography-it has had great influence on other humanistic disciplines. We owe to Wilfflin our ideas about period style and to Male, Panofsky, Wind and others our knowledge of iconography, as both a cultural fact and a method of interpretation. Ever since Burckhardt, our consciousness and u…
Describe or Narrate? A Problem in Realistic Representation
HEN GIOVANNI PIETRO BELLORI, the leading Roman art critic and theorist of the second half of the seventeenth century, came to write his Lives of the greatest artists of his time, he somewhat grudgingly, and against his taste, included an account of Caravaggio. He admitted Caravaggio's greatness but disputed his art. In Bellori's view Caravaggio's art was remarkable for its descriptive or imitative powers, though it offended by its emphasis on the…
L'œil de l'histoire: L'effet cartographique dans la peinture hollandaise au 17ème siècle
Das Auge der Geschichte. Ausgehend von der Stellung der Karte im Atelier von Vermeers lassen sich die Beziehungen zwischen Kartographie und Malerei im Holland des 17.Jahrhunderts darlegen. Gleich Karten, Atlanten und Bildern aller Art tragen die Landschaftsgemälde zur Welterkenntnis bei. Durch seinen spezifischen Bezug zur Erde und zur Darstellungsfläche, seine Aufmerksamkeit für Merkpunkte und seinen geographischen Blick für den bewohnten Raum d…
Holland without Huizinga: Dutch Visual Culture in the Seventeenth Century
In Praise of Appearance
Rembrandt, un maître dans son atelier
Très tôt l'art de Rembrandt est apparu unique en soi. Si l'on prend deux portraits réalisés par des peintres hollandais, il ne semble guère difficile de dire lequel est de Rembrandt (fig. 1, 2). L'arrière-plan assombri ou obscur sur lequel le couple amoureux se détache pour apparaître en pleine lumière, la palette limitée, les teintes peu nombreuses modelées en une matière richement travaillée, et surtout la présence de ce couple immobile qui nou…
Une idée juste: En visitant les galeries hollandaises du Grand Louvre
Visual Culture Questionnaire
1. It has been suggested that the interdisciplinary project of is no longer organized on the model of (as were the disciplines of art history, architectural history, film history, etc.) but on the model of anthropology. Hence, it is argued by some that visual culture is in an eccentric (even, at times, antagonistic) position with regard to the new art history with its social-historical and semiotic imperatives and models of context and text
Art (6 works) · Historical Art and Culture Studies (2 works) · Historical Influence and Diplomacy (2 works) · Humanities (2 works) · Literature (2 works) · Philosophy (2 works) · Political science (2 works) · Visual arts (2 works) · Visual culture (2 works) · Aesthetics (1 works)