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Methods & Theories of Art History Third Edition
This book is an accessible introduction to the critical theories used in analysing art. It covers a broad range of approaches, presenting individual arguments, controversies and divergent perspectives. This edition has been updated to reflect recent scholarship in contemporary art and has been broken down into smaller sections for greater accessibility. The book begins with a revised discussion of the difference between method and theory. The following chapters apply the varying approaches to works of art, some of them new to this edition. The book ends with a new conclusion that focuses on the way the study of art is informed by theory.
200 pages, Kindle Edition
First published February 7, 2005
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Displaying 1 - 30 of 35 reviews
February 13, 2013
This book comes a close second in my 'Books to Get You Through Art Theory' Awards. First place goes to Art History: A Critical Introduction to Its Methods because it goes into the theories a little more meatily, which is what I need for my exam. It explains a theory and then kinda surveys the art historians who have been influential to the theory's development and key texts and essays. D'Alleva's book then seems to perfectly complement moving on from A Critical Introduction; she is briefer in explaining theories but then had case studies and sample questions to show how you apply the theory to art works, something that is only rarely explained! And the final chapter is devoted to writing critical art theory papers, again very useful!
So with these two books, hopefully I'm pretty set to tackle my nemesis in an exam!
So with these two books, hopefully I'm pretty set to tackle my nemesis in an exam!
January 3, 2016
I enjoyed this art "textbook", it works well as a reference book tbh. Unlike many other art books that are just filled with historical trivia (that artist made this painting in 1921 then made another painting in 1942 bla bla bla), this one is theory-focused and full of arguments. I enjoyed chapter 2 and 5 mostly.
Below is the good ol' duality, something like mind vs body, here it's colors vs meaning, Formalism vs Symbolism.
Is Art for Art sake? Formalist say so; art is candy for the eyes.
As for these nerdy Symbolists (I am broadening the term here), they are always trying to get the "meaning" behind the painting and nerd out. We can "read" the painting through its context (when it was made, for whom it was made, who made it), or we can ignore all of that and take the work out of its context (forgot about who made it and what did he mean on painting it, kill the original author, you are the author!).
Now, who is correct? For me, I go to museums for entertainment sake. Sometimes I find a painting that is just too sweet for the eye, I don't care about when it was made or who made it, I'll just stand still and gaze! And sometimes, a painting looks really intellectually-provoking, I don't mind standing in front of it while listening to a 30-min crash-course about the work and its author on the audio guide.
Art is a medium. Art is for Eye and Mind sake!
Below is the good ol' duality, something like mind vs body, here it's colors vs meaning, Formalism vs Symbolism.
Is Art for Art sake? Formalist say so; art is candy for the eyes.
As for these nerdy Symbolists (I am broadening the term here), they are always trying to get the "meaning" behind the painting and nerd out. We can "read" the painting through its context (when it was made, for whom it was made, who made it), or we can ignore all of that and take the work out of its context (forgot about who made it and what did he mean on painting it, kill the original author, you are the author!).
Now, who is correct? For me, I go to museums for entertainment sake. Sometimes I find a painting that is just too sweet for the eye, I don't care about when it was made or who made it, I'll just stand still and gaze! And sometimes, a painting looks really intellectually-provoking, I don't mind standing in front of it while listening to a 30-min crash-course about the work and its author on the audio guide.
Art is a medium. Art is for Eye and Mind sake!
January 23, 2021
Every scholar talks about theory, but very few actually write a clear answer to the question most of my grad students have: What is theory? Anne D’Alleva’s Methods and Theories of Art History is a tremendously helpful response to that question. She frames “theory” as a fundamental way of seeing how the world (or some social/artistic aspect of it) works. A theory is a set of broad-ranging patterns that explain why something about the world is the way it is. Theory is what leads a researcher to look at certain details and not others, in pursuit of answering certain kinds of questions.
After a general introductory chapter, D’Alleva then presents a series of chapters that each look at a particular area of theoretical inquiry: feminism, iconography/iconology, semiotics, Marxism, queer theory/LGBTI, cultural studies, psychoanalysis, reception theory, hermeneutics, structuralism/post-structuralism, deconstruction, postmodernism. Each section concludes with a look at a particular artwork and the sorts of questions the theory would consider most important for that work. It’s a very practical, helpful way to elucidate each perspective.
The final chapter is about incorporating theory into your writing. D’Alleva gives examples of student papers, pointing out the good and less good ways they engage with theory. Again, it’s very practical, moving from “What is theory?” to “Now that I get it, how do I actually use it?” D’Alleva is obviously drawing from years of teaching, an activity she loves and takes very seriously.
The discussion in this book covers the foundations of each theoretical perspective but doesn’t get into current debates about the validity or usefulness of each. That’s fine with me; what was needed was a general introduction to theory in the humanities, for students who are lost in the sea of jargon. Methods & Theories of Art History is exactly what I was looking for. I’ve used it in creating a lecture on theory for world arts, and I recommend it to my students. It’s accessible for undergrads, but also very useful for grad students. My only wish is that the photos of artworks were larger and full-color.
After a general introductory chapter, D’Alleva then presents a series of chapters that each look at a particular area of theoretical inquiry: feminism, iconography/iconology, semiotics, Marxism, queer theory/LGBTI, cultural studies, psychoanalysis, reception theory, hermeneutics, structuralism/post-structuralism, deconstruction, postmodernism. Each section concludes with a look at a particular artwork and the sorts of questions the theory would consider most important for that work. It’s a very practical, helpful way to elucidate each perspective.
The final chapter is about incorporating theory into your writing. D’Alleva gives examples of student papers, pointing out the good and less good ways they engage with theory. Again, it’s very practical, moving from “What is theory?” to “Now that I get it, how do I actually use it?” D’Alleva is obviously drawing from years of teaching, an activity she loves and takes very seriously.
The discussion in this book covers the foundations of each theoretical perspective but doesn’t get into current debates about the validity or usefulness of each. That’s fine with me; what was needed was a general introduction to theory in the humanities, for students who are lost in the sea of jargon. Methods & Theories of Art History is exactly what I was looking for. I’ve used it in creating a lecture on theory for world arts, and I recommend it to my students. It’s accessible for undergrads, but also very useful for grad students. My only wish is that the photos of artworks were larger and full-color.
December 5, 2019
This book helped immensely to get me through my Methods of Art History class this semester. For that class, we read dozens of articles about many different theories, which was rather intimidating and daunting at times, especially when the text is dense and, well, super theoretical. D'Alleva's text helped walk me through the more hefty theories, as well as helped confirm I actually did understand the theory if I was second-guessing myself. Overall, this book was a lifesaver for my Methods of Art History class, and I'm glad my professor assigned it; D'Alleva does a nice job summarizing and going over many different topics and theories.
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January 16, 2022i like the examples, questions and case studies that make you analyze the theories and gain a deeper understanding of them despite the very bare-bones presentation. anyway i feel like i'll explode if i don't read any fiction soon
April 22, 2016
I've been reading this in tandem with a historical and critical studies module. I've definitely gained a clearer understanding of the discourses in fine art by doing so. This book is not going to be shelved, but it will have an honorary place in the pile of books next to my laptop I reach for in times of essay panic.
January 28, 2013
a easy-reading book, that will give you and good overview about subject and... some english vocabulary too :)
July 13, 2020
I've been interested in Architecture, Photography and Literature , my first passion, etc. in terms of art for a long time. Before going through brief review let me give a tip as to me which is that i cannot stand still if i don't understand the mechanism laying under something. Having read Turkish Critic Author Berna Moran's " Edebiyat Kuramları ve Eleştiri" ,where he analyzes the most trendy theories on literature critic, before i looked up this book. What i'm going to say is that this book is nice introductory work to go through all the popular theorems in Arts with its clear language, extent of sources, and putting you somewhere as a critic author in the ends of every section which is a eloquent practice method. Highly recommended for who mean to learn Arts comprehending.
December 13, 2020
A practical guide for both a budding art student and an established art historian, this reference guide is an essential starting point for the popular theories and philosophies of analyzing art history and material culture. I purchased mine for a course my freshman year of college and have consistently returned to it to aid in my research and writing of art historical articles. D'Alleva's explanations are digestible and compelling and encourage readers to start with what they know, developing questions to help kickstart their own research without relying on her own hypotheticals. I recommend to anyone wanting to learn more about art history.
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August 2, 2022Since this is intended as a textbook for college courses in art history, I shouldn't be surprised that it reads like one. In sum, it provides a survey of the history of art theories, giving examples of how various isms might be used to analyze art. It's not bad if you're a novice, but at the risk of sounding pompous, it really didn't tell me much that I didn't already know.
For more reviews, visit The Greater Encyclopedia of Universal Knowledge https://miscmss.blogspot.com/2022/08/...
For more reviews, visit The Greater Encyclopedia of Universal Knowledge https://miscmss.blogspot.com/2022/08/...
December 31, 2020
I read this book during my Theories and Methods of Art History course. D'Alleva breaks down many theories and methods, defining what makes them unique and highlighting important contributors. She also included example questions that an art historian may consider when analyzing a work of art using that theory or method. This book was very helpful and will definitely be one I keep to reference for future writing.
March 6, 2022
I absolutely loved this book. Such a shame I became acquainted with it on my fifth year of history of art studies, not on first. Anyway I recommend it highly for anyone who is interested in art history, or begins to study this subject. It is very inspiring.
October 22, 2017
Using this text for my undergraduate Art Theory and Criticism course. It's been an excellent companion to our readings, even though it doesn't incorporate newer theoretical lenses.
February 22, 2018
Helpful for a beginner in this field but too simple for each aspect
May 1, 2018
I really enjoyed this book. It was well written, informative, and surprisingly inclusive. A must read for undergraduates, those who are struggling or simply interested in understanding art history.
February 9, 2019
Very accessible and such a good overview of different types of theory! Gave great ideas on where to look next
September 30, 2020
Between this and the other Methods book I read, this one is by far my preferred. The terminology is clear and concise. Perfect for beginning art historians, or those who want a quick refresher.
September 9, 2021
An excellent reader with clear, precise and concise introductions to theories and methods, excellent examples and clear, non-jargon wording.
November 22, 2021
4.5 stars, rounded down
March 11, 2023
It's really a good handbook if you are interested in art history
October 21, 2023
An excellent primer for art history. I shall keep returning to chapters for a long time.
March 7, 2024
D'Alleva perfectly explains the difference theories, methodologies, and ideologies of art history in a straightforward and digestible approach.
December 22, 2024
Read for school. A very comprehensive and educational book.
July 11, 2020
This book is a great introduction to art history. It's also great reference for a quick refresh on the subjects.
August 18, 2019
Methods and Theories of Art History
by Anne D'Alleva
(…) painting and writing have much to tell each other: they have much in common.
Virginia Woolf
This book offers a starting point in approaching theories of art-historical practice. The book presents some of the theoretical perspectives most widely used in art history today.
The core of the book is chapters 2 through 5, which present detailed discussions of different theoretical approaches to art history.
Chapter 2 deals with iconography and semiotics. Both addressing the meaning of works of art: what they mean and how they produce those meanings. This chapter also introduces some theories of formalism, an approach to works of art that emphasizes the viewers engagement with their physical and visual characteristics. The chapter closes with a short discussion of ‘word and image’.
Chapter 3 discusses Marxist and materialist, feminist, queer and post-colonial theory, along with globalization and transnationalism. All these approaches address the contextual history of art in fundamental ways.
Chapter 4 focusses on how the viewer experiences art as an important subject in art history. It investigates the psychological and physical aspects of the experience of looking at art. Starting with psychoanalytic theory and proceeding to various theories of reception and the gaze.
Chapter 5 presents several different theoretical perspectives that can be considered as ‘ways of thinking about ways of thinking’. These perspectives ask us to consider how we’re approaching knowledge and how we’re engaging in interpretation. What is it that we think we can know about works of art, their creation and reception? How can we know it?
Two additional chapters frame this core:
Chapter 1 introduces the concept of theory and explains why theory is important to the practice of art history.
Chapter 6 ‘Writing with theory’ presents some practical ideas about writing theoretically driven art history papers.
All in all, this book was helpful in my struggle of better understanding the academic discipline of art history.
The only theory worth having is that which you have to fight off, not that which you speak with profound fluency.
Stuart Hall
by Anne D'Alleva
(…) painting and writing have much to tell each other: they have much in common.
Virginia Woolf
This book offers a starting point in approaching theories of art-historical practice. The book presents some of the theoretical perspectives most widely used in art history today.
The core of the book is chapters 2 through 5, which present detailed discussions of different theoretical approaches to art history.
Chapter 2 deals with iconography and semiotics. Both addressing the meaning of works of art: what they mean and how they produce those meanings. This chapter also introduces some theories of formalism, an approach to works of art that emphasizes the viewers engagement with their physical and visual characteristics. The chapter closes with a short discussion of ‘word and image’.
Chapter 3 discusses Marxist and materialist, feminist, queer and post-colonial theory, along with globalization and transnationalism. All these approaches address the contextual history of art in fundamental ways.
Chapter 4 focusses on how the viewer experiences art as an important subject in art history. It investigates the psychological and physical aspects of the experience of looking at art. Starting with psychoanalytic theory and proceeding to various theories of reception and the gaze.
Chapter 5 presents several different theoretical perspectives that can be considered as ‘ways of thinking about ways of thinking’. These perspectives ask us to consider how we’re approaching knowledge and how we’re engaging in interpretation. What is it that we think we can know about works of art, their creation and reception? How can we know it?
Two additional chapters frame this core:
Chapter 1 introduces the concept of theory and explains why theory is important to the practice of art history.
Chapter 6 ‘Writing with theory’ presents some practical ideas about writing theoretically driven art history papers.
All in all, this book was helpful in my struggle of better understanding the academic discipline of art history.
The only theory worth having is that which you have to fight off, not that which you speak with profound fluency.
Stuart Hall
January 27, 2014
This is honestly a fantastic book for all undergraduate students in Art History and Art Theory (particularly the Bachelor of Art Theory at the College of Fine Arts in Sydney). The book covers practically everything one studies in the BArtTh degree, providing succinct and effective reading lists at the end of each chapter as well as insightful questions that helps the reader apply the theories to art. My only gripe with it is the book's treatment of psychoanalysis - it is definitely a historically and theoretically relevant theory, but it must be said that it is quite outdated and under-informed compared to contemporary psychology and neuroscience. However, this book is great for those who are in an art related degree, or have graduated from such a degree and want a good resource book - it's quite useful when you're trying to remember a particular theory you've forgotten.
February 13, 2015
I really had fun reading this book. That probably sounds weird, since it doesn't exactly sound exciting. But I liked wrestling with (i.e., venting to my husband while reading) the ideas in this book. It was the first "philosophy" book I'd read since I got out of school.
But anywho, D'Alleva does a great job presenting these (to me, brand-spankin' new) ideas about art and theory, and kind of what Art Historians do. I was surprised to learn how many of those that have influenced art theory have no background in art. Lot of literary people. Hmm.
Anywho. Pretty good, detailed, and interesting stuff for the field. Only quit reading it because I decided this field isn't for me, and have apparently 600 pages to read about the Beatles and the 60s now...
But anywho, D'Alleva does a great job presenting these (to me, brand-spankin' new) ideas about art and theory, and kind of what Art Historians do. I was surprised to learn how many of those that have influenced art theory have no background in art. Lot of literary people. Hmm.
Anywho. Pretty good, detailed, and interesting stuff for the field. Only quit reading it because I decided this field isn't for me, and have apparently 600 pages to read about the Beatles and the 60s now...
September 1, 2015
THE MOST HELPFUL BOOK IF YOU ARE TAKING A METHODS IN ART HISTORY CLASS. I am in Art History at McGill and taking Methods in Art History. This book clarifies the methods of art history concisely. It is the perfect study tool, and the perfect thing to have at hand when you are writing an essay. The content does transcend art history. It would probably be useful for someone in Psychology or Philosophy. Reading this book will make you smarter... instantly.
April 12, 2023
It offers good overview about major key concepts of art history and theory. From Iconology/Iconography over to Semiotics and in the lens of different theoretical frameworks and scholars. Such as Marxist, Feminist and Postmodern theories. It was an enjoyable read and I am sure that It may provide a good overview for any beginner who likes to get started in this field.
Displaying 1 - 30 of 35 reviews