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Art historical past: modern views on Method examines some of the styles and ways to the self-discipline of paintings heritage exhibited around the scholarship of all classes during the last 30 years, leading to a go portion of paintings heritage in all its complexities and a well timed survey of its historiography.

• Newly commissioned essays by way of a bunch of overseas scholars
• Takes a trans-disciplinary method of the background of paintings History
• each one essay offers unique and incisive arguments
• The essays mix to offer a concept upsetting re-assessment of the equipment of paintings background

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See David Lewis-Williams, The Mind in the Cave, London, 2002, 98. 5 Collins and Onians, ‘The origins of art’, 12–13. 6 Collins and Onians, ‘The origins of art’, 13. 7 Collins and Onians, ‘The origins of art’, 14. 8 Collins and Onians, ‘The origins of art’, 17. 9 Collins and Onians, ‘The origins of art’, 17. 10 Even if nakedness is taken to suggest eroticism at the time, Collins and Onians do not take account of the fact that the body’s erogenous zones are not set in stone but are historically contingent.

8 Collins and Onians, ‘The origins of art’, 17. 9 Collins and Onians, ‘The origins of art’, 17. 10 Even if nakedness is taken to suggest eroticism at the time, Collins and Onians do not take account of the fact that the body’s erogenous zones are not set in stone but are historically contingent. The Venus of Willendorf, for instance, may have been given hands because hands were considered alluring in prehistory. As Carolyn Steedman discusses, as recently as the late eighteenth century ‘the hand mattered in ways that have now disappeared from our own erotic register’.

There are anxieties in play during the making of an artwork that influence its final form but which are often excluded from subsequent interpretations. 75 This paper, which was bought folded like foolscap, had creases in it that accumulated greater quan­ tities of paint than the rest of the paper, causing the colour to pool and end up darker in those areas. This effect was sometimes admired at the time. The paper also absorbed paint in such a way that rubbing and scrubbing was not possible. 76 In this formal analysis Girtin is seen as sponta­ neous whilst Turner is studious.

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