Art Historical Theories

1234567891011121314151617
Across
  1. 2. One of the two periods Heinrich Wölfflin compared from a formal point of view (using different pairs) to assess a style.
  2. 4. The other of the two periods Heinrich Wölfflin compared from a formal point of view (using different pairs) to assess a style.
  3. 6. What was, according to Giorgio Vasari, the most important aspect of the artist to be taken into consideration when discussing art (clue: it’s linked with the title of his book).
  4. 8. The level at which Erwin Panofsky suggests to draw from texts and other sources to decipher different symbols.
  5. 10. An approach that developed after the Feminist Art History theory and that is based on a new understanding of gender identity.
  6. 11. An approach that studies representations of people of colour, of people of different social classes and the inclusions of hybridity in artworks.
  7. 12. being a woman influences the artwork produced.
  8. 13. According to Wölfflin, if the individual parts of a work appear as independent units, the work shows…
  9. 14. According to Wölfflin, if a work has clear outlines, it is…
  10. 16. A multidisciplinary approach that considers first and foremost the large context (social, historical, political, religious, economical, etc.) in which art is created. It conceives of art as something that is influenced by its context and/or that can influence its context.
Down
  1. 1. In this approach, the importance is given not to the artist of a work, but to the person who paid for it.
  2. 3. A theory that is—among other things—based on the idea that the meaning of an artwork does not solely reside in what the author wanted to achieve.
  3. 5. An approach that takes into consideration the current unification of world economy and the flow of people, goods, services, culture and ideas regardless of geopolitical boundaries.
  4. 7. This approach seeks to find forgotten female artists or give recognition to traditionally “female” art forms. It also studies the representations of women in art and
  5. 9. This is how Erwin Panofsky’s second level is called.
  6. 15. The level at which Erwin Panofsky suggests to do a purely formal perceptual analysis.
  7. 17. The term used to talk about the fusing of different cultures and traditions.