KUN 2001: Historiografi, teori og metode
? sideantal: 1181 s. + 95 s. kursivt
Tekster merket med stjerne er ? finne i kompendium hos Kopiutsalget
Husk gyldig studentbevis ved kj?p av kompendium
Kanon
Academies, Museums and Canons of Art. Gillian Perry, Colin Cunningham (ed.). Art and Its Histories 1. New Haven Conn. 1999. 268 s.
Nochlin, Linda: Hvorfor har det ikke v?rt noen store kvinnelige kunstnere? Oslo 2002: 7–64 + Anne Wichstr?m:” Etterord”: 161–175. 71 s.
* Salomon, Nanette: ”The Art Historical Canon: Sins of Omission”. The Art of Art History. A Critical Anthology. Donald Preziosi (ed.). Oxford 1998 el. senare utg.: 344–353. 9 s. + n. s. 551–553
* Vasari, Giorgio: Lives of the Artists inkl. intro. Art History and Its Methods. A Critical Anthology. Eric Fernie (ed.). London 1995 el. senare utg.: 22–42. 20 s. — : Lives of the Artists (1550/1568, i mod. utg.): Giotto, Michelangelo. 95 s. kursivt
* Winckelmann, Johann Joachim: ”The History of Ancient Art” inkl. intro. Art History and Its Methods. A Critical Anthology. Eric Fernie (ed.). London 1995 el. senare utg.: 68–76. 8 s.
Form og forandring
Gombrich, E.H.: Art and Illusion. A Study in the Psychology of Pictorial Representation. New York 1961 og senere utg.: ”Introduction” + kap. I, II, IV–IX (s. 3–8, 29–78, 154 –278). 180 s. + n. s. 335, 339–342, 349–357
* Krieger, Murray: ”The Ambiguities of Representation and Illusion: An E.H. Gombrich Retrospective”. Critical Inquiry December 1984: 11 (2): 181–194. 13 s.
* W?lfflin, Heinrich: “Introduction” og “Linear and Painterly, General Observations”. Principles of Art History. New York 1950: 1 – 53. 53 s.
Bilde og betydning
Nochlin, Linda: ”Berthe Morisots ’Ammen’. Konstruksjonen av arbeid og fritid i impresjonistisk maleri”. Dens.: Hvorfor har det ikke v?rt noen store kvinnelige kunstnere? Oslo 2002 : 65 – 100. 35 s.
* Barthes, Roland: ”Billedets retorik”. Visuel kommunikation 1. Bent Fausing, Peter Larsen (red.). K?benhavn 1980: 42–57. 15 s.
* Panofsky, Erwin: ”Iconography and Iconology. An Introduction to the Study of Renaissance Art”. Meaning in the Visual Arts. London 1955 el. senere utg.: 26-54. 29 s.
* Pollock, Griselda, ”Woman as Sign in Pre-Raphaelite Literature. The Representation of Elizabeth Siddall”. Vision and Difference: Femininity, Feminism and the Histories of Art. London 1988: 91–114. 30 s. + n. s. 209–214
* Riegl, Alois: ”Geertgen tot Sint Jans’ ’The Legend of the Relics of St. John the Baptist’” inkl. intro. Modern Perspectives in Western Art History. An Anthology on Twentieth-Century Writings on the Visual Arts. W. Eugene Kleinbauer (ed.). Toronto, Buffalo, London 1989 el. senere utg.: 124–138. 14 s.
* Warburg, Aby: ”Italian Art and International Astrology in the Palazzo Schifanoia in Ferrara”. German Essays on Art History. The German Library 79. New York 1988: 234–253. 19 s.
Nyere metoder og tema
D’Alleva, Anne: Methods and Theories of Art History. London 2005. 172 s.
Fallan, Kjetil: Design History: Understanding Theory and Method. Oxford 2009/2010.. 224 s.
* Mitchell, W. J. T.: ”Word and Image”. Critical Terms for Art History. Robert S. Nelson, Richard Shiff (eds.). Chicago, London 2003: 51–61. 10 s.
* Mattick, Paul Jr.: ”Context”. Critical Terms for Art History. Robert S. Nelson, Richard Shiff (eds.). Chicago, London 2003: 110–127. 17 s.
* Krauss, Rosalind E.: ”Grids”. The Originality of the Avant-Garde and Other Modernist Myths. Cambridge, Mass./London 1985: 8–22. 14 s.