Titlebook: Art History for Comics; Past, Present and Po Ian Horton,Maggie Gray Book 2022 The Editor(s) (if applicable) and The Author(s), under exclus

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墻壁

BOGUS

Art History Turned Upside Down: David Kunzle and the Social History of Artal empirical approaches grounded in substantive documentary research (inflected by Ernst Gombrich’s emphasis on Cultural History), it marked an increasing focus on social contexts of production and reception, questions of ideology, class, and the relevance of art-historical research to contemporary

Enliven

Variations of Formalism, Modernism, Abstraction Claude Moliterni’s contribution to the 1967 exhibition catalogue . in which he deconstructed the medium by focusing on its formal features. In taking a formalist approach, Moliterni predates the form-focused accounts of figures like Will Eisner and Scott McCloud. The contribution of the art critic

Contend

Challenging Canons and the Challenge of Style: Visualising the Baroque Storyworld of Judge Dredd’s “ing on Bart?Beaty and Benjamin?Woo’s critical evaluation of canon formation in Comics Studies it explores how these art-historical concepts have subsequently been applied and revised over time. It considers how the concepts of style and schools have been used to define and evaluate the canonical sta

樹(shù)膠

Iconography for Comics Studies Reconsidered: Interpreting Visual Transformations in Jack Kirby’s ttributes of comic book characters, in terms of symbolic motifs and stylistic forms, can be identified, categorised and interpreted. Beginning with an overview of art historian Erwin Panofsky’s theories from the first half of the twentieth century it then examines how iconography has been reconsider

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美學(xué)

A Social History of Comics Art: Looking at Writers and Readers’ f concepts of style, class and ideology from the work of early Marxist art historians such as Arnold Hauser and Meyer Schapiro to that of New Left art historians like T. J. Clark and O. K. Werckmeister. It goes on to examine subsequent work by art historians and theorists taking a Marxist art-histor

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Eosinophils

Modernism and Comics Revisited: Form and Fragmentation in Alan Moore’s “I Can Hear the Grass Grow”rship on the relationship between comics and modernism does not fully consider the heterogeneity of modernism in both theory and practice. This chapter examines the different uses of the term modernism in Art History and traces the development of modernist formalist art theory from the work of Roger