In the domain of visual images, those of fine art form a tiny minority. This original and brilliant book calls upon art historians to look beyond their traditional subjects—painting, drawing, photography, and printmaking—to the vast array of "nonart" images, including those from science, technology, commerce, medicine, music, and archaeology. Such images, James Elkins asserts, can be as rich and expressive as any canonical painting. Using scores of illustrations as examples, he proposes a radically new way of thinking about visual analysis, one that relies on an object's own internal sense of organization.
Elkins begins by demonstrating the arbitrariness of current criteria used by art historians for selecting images for study. He urges scholars to adopt, instead, the far broader criteria of the young field of image studies. After analyzing the philosophic underpinnings of this interdisciplinary field, he surveys the entire range of images, from calligraphy to mathematical graphs and abstract painting. Throughout, Elkins blends philosophic analysis with historical detail to produce a startling new sense of such basic terms as pictures, writing, and notation.

lgrsnf/10.7591_9781501723902.pdf

lgli/10.7591_9781501723902.pdf

nexusstc/The Domain of Images/472c3cb306d043389d9350ed362a483f.pdf

James Elkins

Mario Einaudi Center for International Studies, Cornell University

United States, United States of America

Ithaca, NY, 2018

Ithaca, 1999

5, 20180806

2001

degruyter.com

producers:
iTextSharp 5.0.6 (c) 1T3XT BVBA

{"isbns":["1501723901","9781501723902"],"last_page":304,"publisher":"Cornell University Press"}

In the domain of visual images, those of fine art form a tiny minority. This original and brilliant book calls upon art historians to look beyond their traditional subjects{u2014}painting, drawing, photography, and printmaking{u2014}to the vast array of "nonart" images, including those from science, technology, commerce, medicine, music, and archaeology. Such images, James Elkins asserts, can be as rich and expressive as any canonical painting. Using scores of illustrations as examples, he proposes a radically new way of thinking about visual analysis, one that relies on an object's own internal sense of organization.Elkins begins by demonstrating the arbitrariness of current criteria used by art historians for selecting images for study. He urges scholars to adopt, instead, the far broader criteria of the young field of image studies. After analyzing the philosophic underpinnings of this interdisciplinary field, he surveys the entire range of images, from calligraphy to mathematical graphs and abstract painting. Throughout, Elkins blends philosophic analysis with historical detail to produce a startling new sense of such basic terms as pictures, writing, and notation

In the domain of visual images, those of fine art form a tiny minority. This original and brilliant book calls upon art historians to look beyond their traditional subjects-painting, drawing, photography, and printmaking-to the vast array of "nonart" images, including those from science, technology, commerce, medicine, music, and archaeology. Such images, James Elkins asserts, can be as rich and expressive as any canonical painting. Using scores of illustrations as examples, he proposes a radically new way of thinking about visual analysis, one that relies on an object's own internal sense of organization. Elkins begins by demonstrating the arbitrariness of current criteria used by art historians for selecting images for study. He urges scholars to adopt, instead, the far broader criteria of the young field of image studies. After analyzing the philosophic underpinnings of this interdisciplinary field, he surveys the entire range of images, from calligraphy to mathematical graphs and abstract painting. Throughout, Elkins blends philosophic analysis with historical detail to produce a startling new sense of such basic terms as pictures, writing, and notation

Contents
Preface
Acknowledgments
List of Plates
PART I
1. Art History and Images That Are Not Art
2. Art History as the History of Crystallography
3. Interpreting Nonart Images
4. What Is a Picture?
5. Pictures as Ruined Notations
6. Problems of Classification
PART II
7. Allographs
8. Semasiographs
9. Pseudowriting
10. Subgraphemics
11. Hypographemics
12. Emblemata
13. Schemata
14. Conclusion: Ghosts and Natural Images
Glossary
Frequently Cited Sources
Picture Credits
Index

2023-08-23