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The Theology of Painting: Picturing Philosophy in Velázquez's Las Meninas

The Theology of Painting: Picturing Philosophy in Velázquez's Las Meninas ma TThew aNcell e Th Theology of Painting: Picturing Philosophy in Velázquez’s Las Meninas e Th ory has oe ft n been regarded in early modern studies as an irresponsible guest at best, and, at worst, an unwelcome intruder. While early modern cultural production has served theorists well as they explore their own projects, theory is sometimes un- grounded in historical specici fi ty. Though early modern art history has been espe- cially resistant to theory, strong theoretical voices have emerged, including Svetlana Alpers, Mieke Bal, Michael Fried, Hanneke Grootenboer, Maria Loh, Lyle Massey, and Itay Sapir. Not all of them employ theory explicitly, but their approaches in- dicate a strong theoretical subculture in art history that successfully navigates the terrain between history and theory. These critics show that the best theory is his- torically grounded, and can tell us much about how works are inherently theo- retical, philosophical, theological, or theo- philosophical in their historical context. Part of what I hope to demonstrate in this essay is that traditional art history and more theoretical approaches are complementary, despite the obvious antagonism between them. Just as traditional art historical concerns (such as provenance, pa- tronage, and inu fl ence) http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png The Comparatist University of North Carolina Press

The Theology of Painting: Picturing Philosophy in Velázquez's Las Meninas

The Comparatist , Volume 37 – May 12, 2013

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Publisher
University of North Carolina Press
Copyright
Copyright © Southern Comparative Literature Association.
ISSN
1559-0887

Abstract

ma TThew aNcell e Th Theology of Painting: Picturing Philosophy in Velázquez’s Las Meninas e Th ory has oe ft n been regarded in early modern studies as an irresponsible guest at best, and, at worst, an unwelcome intruder. While early modern cultural production has served theorists well as they explore their own projects, theory is sometimes un- grounded in historical specici fi ty. Though early modern art history has been espe- cially resistant to theory, strong theoretical voices have emerged, including Svetlana Alpers, Mieke Bal, Michael Fried, Hanneke Grootenboer, Maria Loh, Lyle Massey, and Itay Sapir. Not all of them employ theory explicitly, but their approaches in- dicate a strong theoretical subculture in art history that successfully navigates the terrain between history and theory. These critics show that the best theory is his- torically grounded, and can tell us much about how works are inherently theo- retical, philosophical, theological, or theo- philosophical in their historical context. Part of what I hope to demonstrate in this essay is that traditional art history and more theoretical approaches are complementary, despite the obvious antagonism between them. Just as traditional art historical concerns (such as provenance, pa- tronage, and inu fl ence)

Journal

The ComparatistUniversity of North Carolina Press

Published: May 12, 2013

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