By Jacob Bean
The amassing of drawings used to be lengthy the province of artists themselves. The Florentine Vasari shaped one of many first tremendous and systematic collections of drawings, and his instance used to be by means of Rembrandt, Rubens, Lely, Reynolds, and Lawrence. nice ecu museums—the Uffizi, the Louvre, the Berlin Museum, and the British Museum—have outdated and critical collections of drawings. In the USA public curiosity in drawings is a reasonably fresh improvement our public collections have brief histories. That of the Metropolitan Museum is without doubt one of the oldest within the state, and this is often as a result of the foresight of Cornelius Vanderbilt.
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Extra info for 100 European Drawings in The Metropolitan Museum of Art
My own view, consistent with the case I am making here today, is that that “knowledge” is both corporeal and, at some level, informed by meaning. It is therefore open to socio-hermeneutic analysis. In some ways, I have been arguing against my own inclinations in this. I have great sympathy with the project of introducing poetics into academic work, and I understand the appeal of deserting the analytic in favour of notions of creativity and immediacy, especially in the field of art history and cultural studies (Wolff 2008b).
The “affect” experienced in an aesthetic encounter, similarly, is intimately bound up with the viewer’s experiential framework, despite the fact that this is (necessarily) inaccessible in the moment itself. Even in the case of neuroaesthetics, it seems to me impossible to argue that the physiological-cognitive processes identified when, say, someone is watching a dance performance are not already mediated by that person’s knowledge of or involvement in dance—that is, by a complex set of social, Janet Wolff 13 cultural, and biographical facts.
On the one hand neuroaesthetics presents itself as a confident, self-assured teenager, eager to confirm its newly found status of specialized academic discipline and field of inquiry with new publications, conferences, and media attention. Optimistic statements about the possibilities of putting the study of aesthetic phenomena on a scientific basis abound. Such enthusiasm, however, is not universally shared and to some observers neuroaesthetics remains little more than popular hype. In a long and thoughtful essay published recently in The Times Literary Supplement, the gerontologist and iconoclastic philosopher Raymond Tallis, responding to an essay by the literary critic A.
100 European Drawings in The Metropolitan Museum of Art by Jacob Bean