Hostname: page-component-cd9895bd7-gxg78 Total loading time: 0 Render date: 2024-12-26T21:17:44.807Z Has data issue: false hasContentIssue false
  • English
  • Français

Doing art history in the digital age

Published online by Cambridge University Press:  16 February 2022

Sonal
Sonal*
Affiliation:
Assistant Professor Shivaji College University of Delhi Raja Garden, New Delhi, India Email: [email protected]
Get access

Abstract

This paper explores the dimensions of visual history in the digital age. Do digital repositories offer newer paradigms in art historical research? At the most elementary level, it can be easily said that digital tools do allow for closer scrutiny and analysis of art objects with respect to its material composition. A deeper question that needs to be explored is whether the digital age allows for newer theoretical approaches to doing art history. As inventories, museums, art galleries and libraries have been digitizing their collections, there has been a definite shift in the ways of seeing art objects due to the comfort and ease of digital devices. Given the fact that artifacts have a historical process of conceptualization, production, circulation and reception, historical art objects can be seen as a unique entry point into the larger global history of circulation of art works right from the time of their initial production to their later reproduction in print and finally to the times of digitization.

Type
Research Article
Information
Art Libraries Journal , Volume 47 , Issue 1 , January 2022 , pp. 24 - 29
Copyright
Copyright © The Author(s), 2022. Published by Cambridge University Press on behalf of ARLIS

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

1. Goodman, Nelson, Ways of Worldmaking (Indianapolis, IN: Hackett Pub. Co, 1978) 57Google Scholar.

2. The Grand Historical Picture of the Storming of Seringapatam by the British Troops and Their Allies, May 4th, 1799: Painted by Robert Ker Porter, 1800, woodcut and letterpress, Yale Center for British Art, Paul Mellon Fund, Folio A 2016 3h.

3. The Grand Historical Picture…

4. Koselleck, Reinhart, Futures Past: On the Semantics of Historical Time (New York: Columbia University Press, c2004) 10Google Scholar.

5. Keyes, C. D., “Art and Temporality,” Research in Phenomenology, 1 (1971): 63–73CrossRefGoogle Scholar.

6. Storming of Seringapatam. 1799. After Robert Kerr Porter, published 1 Jan 1802, stipple engraving, Royal Collection Trust, RCIN 751106. https://www.rct.uk/collection/751106/storming-of-seringapatam-1799.

7. Benjamin, Walter, “The Work of Art in the Age of Mechanical Reproduction,” Illuminations (New York: Harcourt, Brace and World,1968) 219–253Google Scholar.

8. Carroll, Noël, “The Ontology of Mass Art,” The Journal of Aesthetics and Art Criticism, 55, no. 2 (1997) 187–99CrossRefGoogle Scholar.

9. O'Quinn, Daniel, Staging Governance: Theatrical Imperialism in London, 1770–1800 (Baltimore, MD: Johns Hopkins Press, 2005) 342Google Scholar.

10. Berger, John, Ways of Seeing (New York: Penguin, 1972, 1990) 19Google Scholar.

11. Berger, Ways…, 40.

12. Koselleck, Futures Past… 19.

13. Keyes, “Art and Temporality,” …63–73.

14. Stern, David G., “Heraclitus’ and Wittgenstein's River Images: Stepping Twice into the Same River,” The Monist, 74 (4) 1991, 590CrossRefGoogle Scholar.

15. Oettermann, Stephen, The Panorama: History of a Mass Medium (New York: Zone Books, 1997) 8–10Google Scholar.

16. Berger, Ways…, 32.