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Wilhelm Vöge 14
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Thomas Crow “
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1 · Thomas Crow, 1948—

“ ” · Meyer Schapiro,
1903—1996 · · Claude Lévi-Strauss, 1908—
2009 · Michael Baxandall, 1933-2008
See Thomas Crow, The Intelligence of Art, Chapel Hill and London: The
University of North Carolina Press, 1999; “Modernism and Mass
Culture in the Visual Arts”, Pollock and After: The Critical Debate, Francis
Frascina, ed., London and New York: Loutledge, 2000.

2 See Meyer Schapiro, Style, Theory and Philosophy of Art: Style,

Artist, and Society, Selected Papers, New York: George Braziller, 1994, p.
59.

3 See Meyer Schapiro, “On Emanuel Löwy’s Rendering of Nature in

Early Greek Art”, The Arts, Vol. 8 (1925).

4 See Ibid. p. 169.

5 See Ibid. p. 170.

 6 See Ibid. p. 171.

7 “ ” Apollo of Tenea

8 See Meyer Schapiro, “On Emanuel Löwy’s Rendering of Nature in

Early Greek Art”, The Arts, Vol. 8 (1925), p.172.

9 See Ibid. p.173.

10 -

11 See Margaret Iversen, Alois Riegl: Art History and Theory,

Cambridge, Massachusetts, London, England: The MIT Press, 1993.

12 See Helen Epstein, “Meyer Schapiro: A passion to know and make

known”, ART News, Vol. 82, May, 1983, p. 79.

13 See Ibid. p. 79.

14 · Wilhelm Vöge, 1868-1952

1880 1890

1894
See Wilhelm Vöge,
Die Anfänge des monumentalen Stiles im Mittelalter. Eine Untersuchung
über die erste Blütezeit der französischen Plastik, Strasbourga: J. Heitz,
1894; Munich: Mäander Verlag, 1988.

15 See Kathryn Brush, The Shaping of Art History: Wilhelm Vöge,

Adolf Goldschmidt, and the Study of Medieval Art, Cambridge: Cambridge
University Press, 2010, p. 58.

16 See Margaret Iversen, Alois Riegl: Art History and Theory,

Cambridge and London: The MIT Press, 1993.

17 See Jurgis Baltrusaitis, Formations, deformations: la stylistique

ornementale dans la sculpture romane, Paris: Flammarion, 1986.
95 162 273 297

18 See Meyer Schapiro, “On Geometrical Schematism in Romanesque

Art”, Romanesque Art, New York: George Braziller, 1993, p. 270.

19 See Ibid. p. 271.

20 See Alfred H. Barr, Cubism and Abstract Art, New York: The
Museum of Modern Art, 1966.

21 See Meyer Schapiro, Modern Art: 19th and 20th Centuries,

Selected Papers, Newyork: George Braziller, 2011, pp. 185-232.

22 See Ibid. p. 195.

23 [ ] · ·
2007 1 102

24 See Meyer Schapiro, “Style”, Theory and Philosophy of Art: Style,

Artist, and Society, Selected Papers, New York: George Braziller, 1994, p.
59.

25 See Meyer Schapiro, “The Value of Modern Art”, Worldview in

Painting-Art and Society, Selected Papers, New York: George Braziller,
1999, p. 136.

26 See Meyer Schapiro, “Philosophy and Worldview in Painting”,

Worldview in Painting-Art and Society, Selected Papers, New York:
George Braziller, 1999. pp.11.
 27 See Lionello Venturi, Art Criticism Now, Baltimore: The Johns
Hopkins Press: 1941.

28 [ ] ·
19 20 2015
1 24

29 See Meyer Schapiro, “The Apples of Cézanne: An Essay on the

Meaning of Still-Life”, Modern Art: 19th and 20th Century, Selected
Papers, New York: George Braziller, 1979. p. 4.

30 [ ] ·
19 20 2015 1
34

31 30 34

32 See Meyer Schapiro, “The Still Life as a Personal Object—A Note

on Heidegger and van Gogh”, Theory and Philosophy of Art: Style, Artist,
and Society, Selected Papers, p. 139.

33 See Ibid. p. 141.

34 See Meyer Schapiro, “On the Aesthetic Attitude in Romanesque

Art”, Romanesque Art, Selected Papers, New York: George Braziller, 1977,
pp. 1-2.

35 See W. Eugene Kleinbauer, Modern Perspectives in Western Art

History: An Anthology of Twentieth-century Writings on the Visual Arts,
Universtity of Toronto Press, 1989.

36 See Meyer Schapiro, Romanesque Architectural Sculpture, The

Charles Eliot Norton Lectures, ed.with an Introduction by Linda Seidel,
Chicago and London: The University of Chicago Press, 2006, p. 20.

37 See Meyer Shapiro, “From Mozarabic to Romanesque in Silos”,

Romanesque Art, Selected Papers, New York: George Braziller, 1993. pp.
28.

38 See Ibid. p. 30.

39

40 See Meyer Schapiro, “The Sculptures of Souillac”, Romanesque

Art, Selected Papers, New York: George Braziller, 1993, p. 104.

41 See Meyer Schapiro, “The Nature of Abstract Art”, Modern Art:

19th and 20th Centuries, Selected Papers, Prefaced by Adrienne Baxter
Bell, New York: George Braziller, 2011. pp. 185-186.

42 See Ibid.

43 See Thomas Crow, The Intelligence of Art, Chapel Hill and London:
The University of North Carolina Press, 1999.

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