Historical and philosophical issues in the conservation of cultural heritage : edited by Nicholas Stanley Price, M. Kirby Talley, Jr., Alessandra Melucco Vaccaro. txt

Colaborador(es):

Idioma: Español Series Readings in conservationCanada: Getty Conservation Institute, 1996Descripción: xvii, 500 p. ill. (some col.) ; 26 cmTipo de contenido:

text

Tipo de medio:

unmediaded

Tipo de soporte:

volume

ISBN:

0892362502 (cloth)
0892363983 (paper)
9780892362509(cloth)
9780892363988(paper)

Tema(s):

Clasificación CDD:

702/.8/8 20

Clasificación LoC:

N8555 H57 1996

Recursos en línea:

Publisher description

Contenidos:

Contents : Part I The Eye’s Caress: Looking, Appreciation, and Connoisseurship I -- Introduction to Part I 2 -- 1 John Ruskin | The Lamp of Memory, I 42 -- 2 Bernard Berenson | Aesthetics and History in the Visual Arts 44 -- 3 Clive Bell | Art 47 -- 4 Kenneth Clark | Looking at Pictures 56 -- 5 Erwin Panofsky | The History of Art as a Humanistic Discipline 60 -- 6 Alois Riegl | The Modern Cult of Monuments: Its Essence and Its Development 69 -- 7 Heinrich Wölfflin | Principles of Art History 84 -- 8 Bernard Berenson |Italian Painters of the Renaissance 100 -- 9 Umberto Morra | Conversations with Berenson 106 -- 10 John Ruskin | Fundamental Laws of Sculpture 108 -- 11 E. H. | From Light into Paint 110 -- 12 John Ruskin | Of Turnerian Mystery: Secondly, Willful 129 -- 13 Bernard Berenson | Rudiments of Connoisseurship 131 -- 14 Max J. Friedländer | On Art and Connoisseurship 139 -- 15 John Pope Hennessy | Connoisseurship 154 -- 16 John Ruskin | The Nature of Gothic 158 -- Part II The Original Intent of the Artist 161 -- Introduction to Part II 162 -- 17 Albert Albano | Art in Transition 176 -- 18 John Richardson | Crimes against the Cubists 185 -- 19 Ernst van de Wetering | The Autonomy of Restoration: Ethical Considerations in Relation to Artistic Concepts 193 -- Part III The Emergence of Modern Conservation Theory 201 -- Introduction to Part III 202 -- Reading 20 Marguerite Yourcenar | That Mighty Sculptor, Time 212 -- 21 Paul Philippot | Restoration from the Perspective of the Humanities 216 -- 22 Cesare Brandi | Theory of Restoration, I 230 -- 23 Giovanni Carbonara | The Integration of the Image: Problem in the Restoration of Monuments 236 -- 24 Albert France Lanord |Knowing How to “Question” the Object before Restoring It 244 -- 25 Marie Berducou | Introduction to Archaeological Conservation 248 -- Part IV Historical Perspective 261 -- Introduction to Part IV 262 -- 26 Paul Philippot |Historic Preservation: Philosophy, Criteria, Guidelines, I 268 -- 27 R. H. Marijnissen |Degradation, Conservation, and Restoration of Works of Art: Historical Overview 275 -- 28 Sheldon Keck |Further Materials for a History of Conservation 281 -- 29 Orietta Rossi Pinelli |The Surgery of Memory: Ancient Sculpture and Historical Restorations 288 -- Part V Restoration and Anti Restoration 307 -- Introduction to Part V 308 -- 30 Eugene Emmanuel Viollet le Duc | Restoration 314 -- 31 William Morris | Manifesto of the Society for the Protection of Ancient Buildings 319 -- 32 John Ruskin | The Lamp of Memory, II 322 -- Part VI Reintegration of Losses 325 -- Introduction to Part VI 326 -- Reading 33 Max J Friedländer | On Restoration 332 -- 34 Albert Philippot and Paul Philippot | The Problem of the Integration of Lacunae in the Restoration of Paintings 335 -- 35 Cesare Brandi | Theory of Restoration, II 339 -- 36 Paolo Mora, Laura Mora, And Paul Philippot | Problems of Presentation 343 -- 37 Umberto Baldini | Theory of Restoration and Methodological Unity 355 -- 38 Paul Philippot | Historic Preservation: Philosophy, Criteria, Guidelines, II 358 -- Part VII The Idea of Patina 365 -- Introduction of Part VII 366 -- Reading 39 Paul Philippot |The Idea of Patina and the Cleaning of Paintings 372 -- 40 Cesare Brandi |Theory of Restoration, III 377 -- 41 Cesare Brandi |The Cleaning of Pictures in Relation to Patina, Varnish, and Glazes 380 -- 42 Phoebe Dent Weil |A Review of the History and Practice of Patination 394 -- 43 Ernst van de Wetering |The Surface of Objects and Museum Style 415 -- Part VIII The Role of Science And Technology 423 -- Introduction of Part VIII 424 -- Reading 44 Paul Coremans |Scientific Research and the Restoration of Paintings 432 -- 45 Giorgio Torraca |The Scientist’s Role in Historic Preservation with Particular Reference to Stone Conservation 439 -- 46 Giovanni Urbani |The Science and Art of Conservation of Cultural Property 445 -- Annotated Bibliography 451 -- About the Authors 472 -- Illustration Credits 483 -- Index 486 --

Existencias
Imagen de cubierta	Tipo de ítem	Biblioteca actual	Biblioteca de origen	Colección	Ubicación en estantería	Signatura topográfica	Materiales especificados	Info Vol	URL	Copia número	Estado	Notas	Fecha de vencimiento	Código de barras	Reserva de ítems	Prioridad de la cola de reserva de ejemplar	Reservas para cursos
	Libro Col. General CARIBET	CARIBET Biblioteca Arquitectura Colección General CARIBET				General N8555 H57 1996 (Navegar estantería(Abre debajo))				1	Disponible			91000000000307

Total de reservas: 0

Descripciones mejoradas de Syndetics:

This is the first comprehensive collection of texts on the conservation of art and architecture to be published in the English language. Designed for students of art history as well as conservation, the book consists of forty-five texts, some never before translated into English and manyoriginally published only in obscure or foreign journals. The thirty major art historians and scholars represented raise questions such as when to restore, what to preserve, and how to maintain aesthetic character. Readings come from the work of such writers as Ruskin, Berenson, Clive Bell, CesareBrandi, Kenneth Clark, Erwin Panofsky, E.H. Gombrich, Marie Cl. Berducou, and Paul Philippot. The fully illustrated book also contains references, a glossary of terms, and an index.

Include Index.

Includes bibliographical references (p. 451-471) and index.

Contents :
Part I The Eye’s Caress: Looking, Appreciation, and Connoisseurship I --
Introduction to Part I 2 --
1 John Ruskin | The Lamp of Memory, I 42 --
2 Bernard Berenson | Aesthetics and History in the Visual Arts 44 --
3 Clive Bell | Art 47 --
4 Kenneth Clark | Looking at Pictures 56 --
5 Erwin Panofsky | The History of Art as a Humanistic Discipline 60 --
6 Alois Riegl | The Modern Cult of Monuments: Its Essence and Its Development 69 --
7 Heinrich Wölfflin | Principles of Art History 84 --
8 Bernard Berenson |Italian Painters of the Renaissance 100 --
9 Umberto Morra | Conversations with Berenson 106 --
10 John Ruskin | Fundamental Laws of Sculpture 108 --
11 E. H. | From Light into Paint 110 --
12 John Ruskin | Of Turnerian Mystery: Secondly, Willful 129 --
13 Bernard Berenson | Rudiments of Connoisseurship 131 --
14 Max J. Friedländer | On Art and Connoisseurship 139 --
15 John Pope Hennessy | Connoisseurship 154 --
16 John Ruskin | The Nature of Gothic 158 --
Part II The Original Intent of the Artist 161 --
Introduction to Part II 162 --
17 Albert Albano | Art in Transition 176 --
18 John Richardson | Crimes against the Cubists 185 --
19 Ernst van de Wetering | The Autonomy of Restoration: Ethical Considerations in Relation to Artistic Concepts 193 --
Part III The Emergence of Modern Conservation Theory 201 --
Introduction to Part III 202 --
Reading 20 Marguerite Yourcenar | That Mighty Sculptor, Time 212 --
21 Paul Philippot | Restoration from the Perspective of the Humanities 216 --
22 Cesare Brandi | Theory of Restoration, I 230 --
23 Giovanni Carbonara | The Integration of the Image: Problem in the Restoration of Monuments 236 --
24 Albert France Lanord |Knowing How to “Question” the Object before Restoring It 244 --
25 Marie Berducou | Introduction to Archaeological Conservation 248 --
Part IV Historical Perspective 261 --
Introduction to Part IV 262 --
26 Paul Philippot |Historic Preservation: Philosophy, Criteria, Guidelines, I 268 --
27 R. H. Marijnissen |Degradation, Conservation, and Restoration of Works of Art: Historical Overview 275 --
28 Sheldon Keck |Further Materials for a History of Conservation 281 --
29 Orietta Rossi Pinelli |The Surgery of Memory: Ancient Sculpture and Historical Restorations 288 --
Part V Restoration and Anti Restoration 307 --
Introduction to Part V 308 --
30 Eugene Emmanuel Viollet le Duc | Restoration 314 --
31 William Morris | Manifesto of the Society for the Protection of Ancient Buildings 319 --
32 John Ruskin | The Lamp of Memory, II 322 --
Part VI Reintegration of Losses 325 --
Introduction to Part VI 326 --
Reading 33 Max J Friedländer | On Restoration 332 --
34 Albert Philippot and Paul Philippot | The Problem of the Integration of Lacunae in the Restoration of Paintings 335 --
35 Cesare Brandi | Theory of Restoration, II 339 --
36 Paolo Mora, Laura Mora, And Paul Philippot | Problems of Presentation 343 --
37 Umberto Baldini | Theory of Restoration and Methodological Unity 355 --
38 Paul Philippot | Historic Preservation: Philosophy, Criteria, Guidelines, II 358 --
Part VII The Idea of Patina 365 --
Introduction of Part VII 366 --
Reading 39 Paul Philippot |The Idea of Patina and the Cleaning of Paintings 372 --
40 Cesare Brandi |Theory of Restoration, III 377 --
41 Cesare Brandi |The Cleaning of Pictures in Relation to Patina, Varnish, and Glazes 380 --
42 Phoebe Dent Weil |A Review of the History and Practice of Patination 394 --
43 Ernst van de Wetering |The Surface of Objects and Museum Style 415 --
Part VIII The Role of Science And Technology 423 --
Introduction of Part VIII 424 --
Reading 44 Paul Coremans |Scientific Research and the Restoration of Paintings 432 --
45 Giorgio Torraca |The Scientist’s Role in Historic Preservation with Particular Reference to Stone Conservation 439 --
46 Giovanni Urbani |The Science and Art of Conservation of Cultural Property 445 --
Annotated Bibliography 451 --
About the Authors 472 --
Illustration Credits 483 --
Index 486 --

Reseñas proporcionadas por Syndetics

Library Journal Review

Before compiling these 46 diverse articles, the Getty Conservation team considered more than 300 documents. The result is a scholarly collection that attempts to show the relationship of art history to art conservation. The readings, many of which might not be readily found in common sources, are invaluable not only to studentsthe group targeted by the editorsbut also to art historians, archaeologists, and conservators already engaged in the trade. The opening essays on art appreciationwritten by notables such as Clive Bell and Kenneth Clarkhave been included to show the relationship between connoisseurship and the need to preserve the past. Subsequent readings discuss past restoration practices and analyze procedures used today, and the texts can be difficult. Still, this is essential for art and academic libraries.Margarete Gross, Chicago P.L. (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

CHOICE Review

Since Decartes, the humanities have had to be defended against claims that they lacked the certainty science characteristically offers. Now conservation labs, like a deus ex machina, take the most subjective part of art history--connoisseurship--and transform it into a high-tech industry. Even art historians whose eyes glaze over after a single paint cross-section will be glad to learn about the conservation history of the Laocoon, or that Reynolds and Turner are the worst of a conservator's nightmares. But historians are not this book's intended audience; instead, it offers dignifying discourse of "historical and philosophical issues" appropriate to students and practitioners of conservation. This overlaps with issues in art historical methodology; the passages under the heading "The Eye's Caress" represent a straightforward if brutally excerpted selection of the "greats" on connoisseurship, burdened with a pedantically italicized and somewhat verbose editorial prologue. The most purely conservation-minded parts are of less broad interest, although the several articles on patina, are worthy of wide readership. "Death with dignity" for works of art may be a hot topic of conversation within the profession, but art historians are likely to put down the book wishing for concrete case studies or a real history of conservation practice. A beautifully illustrated book; nevertheless, there are glitches (e.g., George [sic] Hogarth, "impasto" not indexed). Upper-division undergraduate through professional. P. Emison University of New Hampshire

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