By Jeremy Tanner, Robin Osborne
Art's employer and paintings History re-articulates the connection of the anthropology of paintings to key methodological and theoretical ways in artwork heritage, sociology, and linguistics.
• Explores very important innovations and views within the anthropology of artwork
• comprises 9 groundbreaking case reviews via an across the world well known team of paintings historians and paintings theorists
• Covers a variety of sessions, together with Bronze-Age China, Classical Greece, Rome, and Mayan, in addition to the fashionable Western international
• positive factors an introductory essay through prime specialists, which is helping make clear matters within the box
• contains various illustrations
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Extra info for Art's Agency and Art History
Rasmus Brandt and L. , From Huts to Houses: Transformations of Ancient Societies (Stockholm, 2001), pp. 41–9. It is worth noting, in this context, that the design and decoration of early mastaba tombs has long been thought by some scholars to derive from Mesopotamian architectural prototypes, also constructed in mud-brick, which were temples (‘‘Houses of the Gods’’) rather than tombs, and therefore accessible to the living. The best exposition of this view remains H. Frankfort, ‘‘The origin of monumental architecture in Egypt,’’ American Journal of Semitic Languages and Literatures 58 (1941), pp.
J. Baines, foreword by E. H. Gombrich (Oxford, 1974); J. Baines, ‘‘Theories and universals of representation: Heinrich Scha¨fer and Egyptian art,’’ Art History 8 (1985), pp. 1–25. The primary publications upon which I draw are: W. B. Emery, Excavations at Saqqara: The Tomb of Hemaka (Cairo, 1938); Excavations at Saqqara 1937–1938: Hor-Aha (Cairo, 1939); Great Tombs of the First Dynasty, vol. 1 (Cairo, 1949); Great Tombs of the First Dynasty, vol. 2 (London, 1954); Great Tombs of the First Dynasty, vol.
23–31; ‘‘The Abelam artist,’’ in M. , Social Organization: Essays Presented to Raymond Firth (London, 1967), pp. 65–84. A. Gell, Art and Agency: an Anthropological Theory (Oxford, 1998), p. 10. , p. 6. , p. 20. , p. 6. , pp. 6, 71; Gell, ‘‘Technology,’’ pp. 40–6. Gell, Art and Agency, p. 14. J. Faris, Nuba Personal Art (London, 1971). Gell, Wrapping in Images: Tattooing in Polynesia (Oxford, 1993). Gell, Art and Agency, pp. 163–5. Gell, ‘‘Technology,’’ p. 43. M. Bal and N. Bryson, ‘‘Semiotics and art history,’’ Art Bulletin 73 (1991), pp.