The Melancholy Art
5/5
()
About this ebook
Why the art historian's craft is a uniquely melancholy art
Melancholy is not only about sadness, despair, and loss. As Renaissance artists and philosophers acknowledged long ago, it can engender a certain kind of creativity born from a deep awareness of the mutability of life and the inevitable cycle of birth and death. Drawing on psychoanalysis, philosophy, and the intellectual history of the history of art, The Melancholy Art explores the unique connections between melancholy and the art historian's craft.
Though the objects art historians study are materially present in our world, the worlds from which they come are forever lost to time. In this eloquent and inspiring book, Michael Ann Holly traces how this disjunction courses through the history of art and shows how it can give rise to melancholic sentiments in historians who write about art. She confronts pivotal and vexing questions in her discipline: Why do art historians write in the first place? What kinds of psychic exchanges occur between art objects and those who write about them? What institutional and personal needs does art history serve? What is lost in historical writing about art?
The Melancholy Art looks at how melancholy suffuses the work of some of the twentieth century's most powerful and poetic writers on the history of art, including Alois Riegl, Franz Wickhoff, Adrian Stokes, Michael Baxandall, Meyer Schapiro, and Jacques Derrida. A disarmingly personal meditation by one of our most distinguished art historians, this book explains why to write about art is to share in a kind of intertwined pleasure and loss that is the very essence of melancholy.
Michael Ann Holly
Michael Ann Holly is the Starr Director of the Research and Academic Program at the Clark Art Institute and teaches in the Graduate Program in the History of Art at Williams College. Her books include Past Looking: Historical Imagination and the Rhetoric of the Image and Panofsky and the Foundations of Art History.
Related to The Melancholy Art
Related ebooks
Still Life 120 illustrations Rating: 5 out of 5 stars5/5Downcast Eyes: The Denigration of Vision in Twentieth-Century French Thought Rating: 4 out of 5 stars4/5Art of the 20th century Rating: 5 out of 5 stars5/5Medieval Art in the Christian West Rating: 0 out of 5 stars0 ratingsThe Pensive Image: Art as a Form of Thinking Rating: 0 out of 5 stars0 ratingsSculpture: Some Observations on Shape and Form from Pygmalion's Creative Dream Rating: 4 out of 5 stars4/5After the Beautiful: Hegel and the Philosophy of Pictorial Modernism Rating: 0 out of 5 stars0 ratingsCorpus Rating: 4 out of 5 stars4/5Portrait Rating: 0 out of 5 stars0 ratingsAn Anthropology of Images: Picture, Medium, Body Rating: 0 out of 5 stars0 ratingsIconoclasm Rating: 0 out of 5 stars0 ratingsThe Contemporaries: Travels in the 21st-Century Art World Rating: 0 out of 5 stars0 ratingsPerspective as Symbolic Form Rating: 4 out of 5 stars4/5Phenomenology of the Visual Arts (even the frame) Rating: 0 out of 5 stars0 ratingsAnywhere or Not at All: Philosophy of Contemporary Art Rating: 5 out of 5 stars5/5What Is Contemporary Art? Rating: 5 out of 5 stars5/5The Picture in Question: Mark Tansey and the Ends of Representation Rating: 5 out of 5 stars5/5Time’s Visible Surface: Alois Riegl and the Discourse on History and Temporality in Fin-de-Siècle Vienna Rating: 5 out of 5 stars5/5Filmed Thought: Cinema as Reflective Form Rating: 0 out of 5 stars0 ratingsMatter and Memory Rating: 0 out of 5 stars0 ratingsDada Rating: 5 out of 5 stars5/5What is Art?: Conversation with Joseph Beuys Rating: 4 out of 5 stars4/5Georg Simmel: Essays on Art and Aesthetics Rating: 0 out of 5 stars0 ratingsCamera Orientalis: Reflections on Photography of the Middle East Rating: 0 out of 5 stars0 ratingsAesthetics and subjectivity Rating: 0 out of 5 stars0 ratingsBeyond the Aesthetic and the Anti-Aesthetic Rating: 0 out of 5 stars0 ratingsAesthetics as Phenomenology: The Appearance of Things Rating: 0 out of 5 stars0 ratingsRedeeming Art: Critical Reveries Rating: 0 out of 5 stars0 ratingsIconology: Image, Text, Ideology Rating: 4 out of 5 stars4/5Artificial Darkness: An Obscure History of Modern Art and Media Rating: 3 out of 5 stars3/5
History For You
Unveiled: How Western Liberals Empower Radical Islam Rating: 5 out of 5 stars5/5The Devil's Chessboard: Allen Dulles, the CIA, and the Rise of America's Secret Government Rating: 5 out of 5 stars5/5The Ethnic Cleansing of Palestine Rating: 4 out of 5 stars4/5Sapiens: A Brief History of Humankind Rating: 4 out of 5 stars4/5Whore Stories: A Revealing History of the World's Oldest Profession Rating: 3 out of 5 stars3/5Becoming Cliterate: Why Orgasm Equality Matters--And How to Get It Rating: 4 out of 5 stars4/5100 Amazing Facts About the Negro with Complete Proof Rating: 4 out of 5 stars4/5Ultralearning: Master Hard Skills, Outsmart the Competition, and Accelerate Your Career Rating: 4 out of 5 stars4/5100 Things You're Not Supposed to Know: Secrets, Conspiracies, Cover Ups, and Absurdities Rating: 3 out of 5 stars3/5The Great Reset: And the War for the World Rating: 4 out of 5 stars4/5The Great Awakening: Defeating the Globalists and Launching the Next Great Renaissance Rating: 4 out of 5 stars4/5The Day the World Came to Town: 9/11 in Gander, Newfoundland Rating: 4 out of 5 stars4/5Wordslut: A Feminist Guide to Taking Back the English Language Rating: 4 out of 5 stars4/5Lies My Teacher Told Me: Everything Your American History Textbook Got Wrong Rating: 4 out of 5 stars4/5The Richest Man in Babylon: The most inspiring book on wealth ever written Rating: 5 out of 5 stars5/5The Indifferent Stars Above: The Harrowing Saga of the Donner Party Rating: 4 out of 5 stars4/5The End of the Myth: From the Frontier to the Border Wall in the Mind of America Rating: 4 out of 5 stars4/5Wise as Fu*k: Simple Truths to Guide You Through the Sh*tstorms of Life Rating: 5 out of 5 stars5/5Summary of The War of Art: by Steven Pressfield | Includes Analysis Rating: 5 out of 5 stars5/5Longitude: The True Story of a Lone Genius Who Solved the Greatest Scientific Problem of His Time Rating: 4 out of 5 stars4/5The Power of Geography: Ten Maps That Reveal the Future of Our World Rating: 4 out of 5 stars4/5The Lessons of History Rating: 4 out of 5 stars4/5The Time Traveler's Guide to Medieval England: A Handbook for Visitors to the Fourteenth Century Rating: 4 out of 5 stars4/5Prisoners of Geography: Ten Maps That Explain Everything About the World Rating: 4 out of 5 stars4/5The Secret History of the World Rating: 3 out of 5 stars3/5Vanderbilt: The Rise and Fall of an American Dynasty Rating: 4 out of 5 stars4/5
Reviews for The Melancholy Art
2 ratings1 review
- Rating: 5 out of 5 stars5/5In “The Melancholy Art,” Michael Ann Holly charts an entire constellation of concerns in relation to art-historical (and art-historiographical) writing. Her grasp of philosophy, critical theory, and psychoanalysis is every bit as sophisticated as her grasp of art history (her area of formal academic training). It takes a certain kind of pensiveness and humility to criticize your entire field – for that’s partially what this book sets out to do – with Holly’s active, voracious, but always judicious, interdisciplinarity.First, a note on the book itself. I ordered the hardback edition directly from Princeton. It has an especially beautiful cover with a close-up of Giovanni Bellini’s “Christ Carrying the Cross.” The book is printed on thick, glossy paper with a generous number of black-and-white reproductions, ranging from Freud’s couch in Vienna to a picture of Reimenschneider’s “Altar of the Holy Blood.” Whoever put the book together was smart in seeing how the format and design of the book could wonderfully sing in tandem with its actual content.The content is just as beautiful. It’s a collection of five highly interrelated essays, all centering around the intimacy, existential quality, and experience of the aesthetic with an emphasis on how these have been treated in art history writing in the past. At its heart, these essays are meant to, as I said above, criticize in several penetrating ways some contemporary assumptions about art history and the writing of it. Holly argues that art history has an unfortunate inclination toward overt positivism that focuses on analytical reconstruction, and often has a wonderful self-confidence that it can completely and totally represent the work in question, its content, context, and significance; these assumptions will be familiar to anyone familiar with nineteenth-century historiography. Holly suggests our art-historical encounter with objects is just as full of melancholy, loss, displacement, and gaps that can never be fully bridged – and, most importantly, that acknowledging this will make for a truer, more authentic historiography. She quotes Frank Ankersmit’s “Sublime Historical Experience”: “How we feel about the past is no less important than what we know about it – probably even more so” (p. 7). The object relations theory of Melanie Klein is used to smartly situate the experience all art historians find themselves in: analyzing and attempting to reconstruct something ( i.e., Klein’s “object”) that is inevitably lost and unable to be reconstructed. Above all, I think Holly is concerned with making the writing of art history phenomenologically and existentially rigorous, to reinvigorate it with a kind of élan vital that positivism saps from it, and that only a pensive melancholy can even partially restore. She wants art historians to recognize loss for what it is and for what it means, instead of trying to cheaply paper over it with the meretricious claims of sentimentalism. Above all, art historians must know that their task is an impossible one: that of working toward a goal that can never be fully completed or realize. We will always have something to say about that diptych, or this altarpiece. Meaning abides and never exhausts itself – and this is the source of our melancholy. Holly quotes one of Whitney Davis’ articles on Winckelmann, a quote more than deserving of full repeat here, for it sums up the entire spirit of Holly’s project: “The history of art is lost, but art history is still with us; and although art history often attempts to bring the object back to life, finally it is our means of laying it to rest, of putting it in its history and taking it out of our own, where we have witnessed its departure. To have the history of art as history - acknowledging the irreparable loss of the objects – we must give up art history as a bringing-to-life, as denial of departure. If it is not to be pathological, art history must take its leave of its objects, for they have already departed anyway” (p. 21). If I have one small criticism of the book, it is that she does not seem to recognize the expansiveness of its implications. I quoted her quoting Frank Ankersmit above, not an art historian but a historiographer, so she knows that these ideas have already been touched upon. Dominick LaCapra, Hayden White, Cathy Caruth, and other historiographers have written on similar topics. However, while acknowledging her intellectual debts, she makes unique contributions of her own, but never applies them outside of art history, when they are extremely applicable. Without ever becoming insular, she keeps the explicit implications for her work within the realm of art history, and the result is a work of undiminished thoughtfulness, rigor, and melancholy in its own right.