Introduction

Research output: Chapter in Book/Report/Conference proceedingForeword/postscript

Abstract

Art history possesses its own mythology. Like all social organizations, an intellectual discipline coheres around a community with a shared history, a common language, and seemingly similar beliefs and goals. Fundamental to any social organization is a myth of its origins. Art history, as practiced and theorized in the West, enjoys a particularly active etiological impulse. Perhaps in an effort to minimize differences within the various endeavors described as “Art History,�? historiographers of the discipline are keen to assert and reassert our common intellectual heritage. We have an abundance of fathers. Among the most frequently cited are Giorgio Vasari (often called “the father of art history�?); J.J. Winckelmann (busier than Vasari, he is known as “the father of archaeology�? as well as “the father of modern art history�?); Georg Hegel (Gombrich’s “father of art history�?); and recently Bernard Smith has been given the appellation “father of art history in Australia.�? An orphan discipline, apparently, art history goes motherless.

Original languageEnglish (US)
Title of host publicationArt History and its Institutions
Subtitle of host publicationFoundations of a Discipline
PublisherTaylor and Francis
Pages1-8
Number of pages8
ISBN (Electronic)0203995090, 9781134585038
ISBN (Print)0415228697, 9780415228688
DOIs
StatePublished - Jan 1 2005

All Science Journal Classification (ASJC) codes

  • Arts and Humanities(all)
  • Social Sciences(all)

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    Mansfield, E. (2005). Introduction. In Art History and its Institutions: Foundations of a Discipline (pp. 1-8). Taylor and Francis. https://doi.org/10.4324/9780203995099-3