Practice question · Sort into groups
Sort each question by the movement that brought it into the discipline.
Groups: Social history of art · Feminist art history · Postcolonial art history
- Traditions in the canon
- Market impact on sales
- Object provenance
- Gendered spectatorship
- Training and commissions
- Patron and purpose
Hints
- One movement asks about money and class, one about gender, one about empire and the canon.
- Provenance questions are postcolonial ones.
Show the answer
Social history of art: Patron and purpose, Market impact on sales
Feminist art history: Training and commissions, Gendered spectatorship
Postcolonial art history: Object provenance, Traditions in the canon
Why
The three sets of questions are compatible and frequently asked together about the same object. What they share is a refusal to stop at identification, each asks what the identified subject was doing, for whom, and at whose expense.
Practise Critiques and Revisions of the Method
The app has 5 more questions on this lesson, and keeps your place in the course. Art History I is free to start.
More questions on Critiques and Revisions of the Method
- Gombrich argued that iconology is insufficiently constrained. Why does that objection bite?
- Iconology is often revised rather than replaced by later critical frameworks. Why must a revisionist analysis…
- Which are among Gombrich's proposed restraints on iconological interpretation?
- Pollock argued that adding women to the existing canon is sufficient to correct art history's exclusions.
- Complete the account of the critiques.
- Of Panofsky's three levels, how many have proved most durable under the later critiques?
- Arrange these steps of a disciplined iconological reading in order.
- Gombrich rejected iconology and proposed abandoning the third level.