Frequently Cited Sources

Potts, Alex

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Frequently Cited Sources

Alex Potts

Flesh and the Ideal: Winckelmann and the Origins of Art History

Frequently Cited Sources

Author

Alex Potts

PublisherYale University Press

https://doi.org/10.37862/aaeportal.00050.011

Stable URL: https://aaeportal.com/?id=-14701

Frequently Cited Sources

The texts listed below are cited in the notes in the abbreviated form indicated in square brackets.

Caylus, A.-C.-P. de Tubières, comte de, Recueil d’Antiquités, Paris, Vol. I, 1752, Vol. II, 1756, Vol. III, 1759, Vol. IV, 1761, Vol. V, 1762, Vol. VI, 1764 [Caylus, Recueil]

Dilly, H., Kunstgeschichte als Institution, Frankfurt-am-Main, 1979 [Dilly, Kunstgeschichte als Institution]

Freud, S., Penguin Freud Library, Harmondsworth, Vol. 1, Introductory Lectures on Psycho-Analysis, 1973; Vol. 7, On Sexuality, 1977; Vol. 11, On Metapsychology, 1984; Vol. 12, Civilization, Society and Religion, 1985; Vol. 13, The Origins of Religion, 1985 [Freud, Freud Library]

Greenberg, D. F., The Construction of Homosexuality, Chicago and London, 1988 [Greenberg, Homosexuality]

Haskell, F. and Penny, N., Taste and the Antique, New Haven and London, 1981 [Haskell and Penny, Taste and the Antique]

Jenkins, G. K., Ancient Greek Coins, London, 1972 [Jenkins, Ancient Greek Coins]

Justi, K., Winckelmann und seine Zeitgenossen, 3 vols, Leipzig, 1932 [Justi]

Musée Calvet, Avignon, La Mort de Bara, Avignon, 1989 [La Mort de Bara]

Pater, W., The Renaissance: Studies in Art and Poetry, London and Glasgow, 1961, ed. K. Clark; first published 1873 [Pater, Renaissance]

Pliny, The Elder Pliny’s Chapters on the History of Art, translated by K. Jex-Blake, Chicago, 1968 [Pliny, Natural History]

Potts, A. D., ‘Political Attitudes and the Rise of Historicism in Art Theory’, Art History, I, 1978, pp. 191-213 [Potts, ‘Political Attitudes’]

——‘Greek Sculpture and Roman Copies I: Anton Raphael Mengs and the Eighteenth Century’, Journal of the Warburg and Courtauld Institutes, XLIII, 1980, pp. 150-73 [Potts, ‘Greek Sculpture and Roman Copies’]

——‘Winckelmann’s Construction of History’, Art History, 5, 1982, pp. 377–407 [Potts, ‘Winckelmann’s Construction of History’]

Winckelmann, J. J., Geschichte der Kunst des Alterthums (History of the Art of Antiquity), Dresden, 1764 [Geschichte]

——‘Geschichte der Kunst des Alterthums, Vienna, 1776 [Geschichte, Vienna 1776]

——Versuch einer Allegorie, besonders für die Kunst (Attempt at an Allegory, Particularly for Art), Dresden, 1766 [Allegorie]

——Anmerkungen über die Geschichte der Kunst des Alterthums (Remarks on the History of Art of Antiquity), Dresden, 1767 [Anmerkungen]

——Monumenti Antichi Inediti (Unpublished Antique Monuments), Rome, 1767 [Monumenti Inediti]

——Kleine Schriften. Vorreden. Entwürfe, Berlin, 1968 [Kleine Schriften]

Winterbottom, M. and Russell, D. A. (eds), Ancient Literary Criticism, Oxford, 1972 [Winterbottom, Ancient Literary Criticism]

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BOOKFlesh and the Ideal: Winckelmann and the Origins of Art History

Alex Potts

https://doi.org/10.37862/aaeportal.00050

Stable URL: https://aaeportal.com/?id=-14690

Johann Joachim Winckelmann (1717–1768), one of the most important figures ever to have written about art, is considered by many to be the father of modern art history. This book is an intellectual biography of Winckelmann that discusses his magnum opus, History of the Art of Antiquity, in the context of his life and work in Germany and in Rome in the eighteenth century.

Alex Potts analyzes Winckelmann's eloquent account of the aesthetic and imaginative Greek ideal in art, an account that focuses on the political and homoerotic sexual content that gave the antique ideal male nude its larger resonance. He shows how Winckelmann's writing reflects the well-known preoccupations and values of Enlightenment culture as well as a darker aspect of Enlightenment ideals—such as the fantasy of a completely free sovereign subjectivity associated with Greek art. Potts explores how Winckelmann's historical perspective on the art of antiquity both prefigures and undermines the more strictly historicizing views put forward in the nineteenth century and how his systematic definition of style and historical development casts a new light on the present-day understanding of these notions. According to Potts, Winckelmann goes well beyond the simple rationalist art history and Neoclassical art theory with which he is usually associated. Rather, he often seems to speak directly to our present awareness of the discomforting ideological and psychic contradictions inherent in supposedly ideal symbolic forms.

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Author

Alex Potts

PublisherYale University Press

Print publication date August 1994 (in print)

Print ISBN 9780300087369

EISBN 9780300229608

Illustrations 46

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