Objects of enquiry: An art historian's response to Peter Burke

Cultural and Social History

Volumn 7, Issue 4, 2010, Pages 445-452

  Ades, Dawn ^a  

^a UNIVERSITY OF ESSEX   (United Kingdom)

Author keywords

Art and history; Connoisseurship; Methodology; Peter Burke

Indexed keywords

EID: 78549234403     PISSN: 14780038     EISSN: 14780046     Source Type: Journal    
DOI: 10.2752/147800410X12797967060885     Document Type: Article

References (15)

1. Michael Baxandall, Patterns of Intention: On the Historical Explanation of Pictures (New Haven, CT, and London, 1985), p. 13.
2. Michael Podro, The Critical Historians of Art (New Haven, CT, and London, 1982).
3. Harold Evans, Pictures on a Page: Photo-Journalism, Graphics and Picture Editing (London, 1978), e.g. pp. 226-7.
4. David King, The Commissar Vanishes: The Falsification of Photographs and Art in Stalin's Russia (Edinburgh, 1997).
5. Dawn Ades, Photomontage (London, 1976; revised and enlarged edition 1986).
6. On the Olmec texts and their relationship to the language spoken, see Terence Kaufman and John Justeson, 'Epi-Olmec Hieroglyphic Writing and Texts' (2001), http://www.albany.edu/anthro/maldp/EOTEXTS, accessed 22 July 2009.
7. For a summary of the 'Great Decipherment' of Maya hieroglyphic writing, see Michael Coe and Justin Kerr, The Art of the Maya Scribe (London, 1997). For further discussion, in a different historical context, of the interpretation of images in the absence of texts, see the article by Charlotte Behr in this issue.
8. The exhibition The Olmec World: Ritual and Rulership (The Art Museum, Princeton University, NJ, 1996), was the first substantial exhibition on the Olmec and summarized a century of scholarship.
9. Alan Knight, The Mexican Revolution (Cambridge, 1986).
10. John Mason Hart, Revolutionary Mexico: The Coming and Process of the Mexican Revolution (Berkeley, CA, 1987).
11. Simon Baker, Surrealism, History and Revolution (Bern, 2007), p. 36.
12. Ibid., P. 39.
13. I referred in my talk to a recent, brilliant demonstration of writing the experience of looking at a picture over time, T.J. Clark's The Sight of Death: An Experiment in Art Writing (London, 2006), concerning Poussin's Landscape with a Man Killed by a Snake (National Gallery) and Landscape with a Calm (Getty). See Lynda Nead's article in this issue for further discussion of Clark's work and art historical approaches.
14. Pierre Cabanne, Entretiens avec Marcel Duchamp (Paris, 1967), p. 74.
15. Paul Klee, returning from a trip to Paris where he had seen cubism and its scandalous mixing of letters, paint and collage, exclaimed 'Holy Laocoon!' in recognition of the end of Lessing's insistence on the separation of word and image, and began incorporating words into his pictures.