著者

荒川 裕子

出版者

法政大学キャリアデザイン学部

雑誌

法政大学キャリアデザイン学部紀要 = 法政大学キャリアデザイン学部紀要 (ISSN:13493043)

巻号頁・発行日

vol.8, pp.69-84, 2011-03

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The Burlington Magazine, one of the most authoritative periodicals devoted to the fine arts, founded in 1903, is now publishing a series of articles entitled ‘Art History Reviewed’, where a selection of the most influential books on art history that appeared in the last century is reviewed one at a time. In this essay I explore the meaning of realizing such a retrospective series at this moment in the magazine which normally features the latest issues of art−historical research and the reviews of the new books on art. One reason for the series can be found in the fact that we now come to be able to understand and evaluate the significance of those books more thoroughly and objectively after a certain period since their original publication. In the articles, they are treated not as the books for reference, but rather as the historical works themselves. This means that we are beginning to historicize what had happened to the art history during the twentieth century, and those books chosen in this series are becoming the canon in almost the same sense as that used for the artifacts in the field of art history. Another aim of reviewing the whole development of art history in the last century seems to try to connect the traditional art history to the so-called New Art History. Since around the 1970s there have been many disputes over the discipline of art history, and consequently the historiography of art has changed a lot with adopting various methodologies which had developed in other fields. This has brought about a kind of split in the field of art history, but now it is about time for us to search for another possibility of the historiography of art of its own.