In a series of short videos, learn more about art history and how to practice it, with the specificities of working on Ancient West Asia. These free short videos will drop on YouTube every Thursday starting November 7 and ending December 5. Registering means that the link will be sent directly to you.
What is it that we do, when we do Art History ? – November 7th 2024, View the Video on YouTube
Step 1: What is it that we do when we do Art History?
BROWN B. A., FELDMAN M. H. (EDS.), Critical Approaches to Ancient Near Eastern Art, Boston, Berlin: De Gruyter, 2014.
BRUNEAU P., Situation méthodologique de l’histoire de l’art antique, L’antiquité classique, 1975, 44/2, pp.425-487.
HABINEK T., Ancient Art versus Modern Aesthetics : A Naturalist Perspective, Arethusa, 2010, 43/2, pp.215-230.
PELOWSKI M., GERGER G., Chetouani Y., MARKEY P. S., and LEDER H., But Is It really Art? The Classification of Images as “Art”/“Not Art” and Correlation with Appraisal and Viewer Interpersonal Differences, Frontiers in Psychology, 2017, 8, pp.1-21.
Open Access
PORADA E., Problems of Method in, the Archaeology and Art History of the Ancient near East, Journal of the American Oriental Society, 1982, 102/3, pp.501-506.
Watts C., Knappett K. (Rds.), Ancient Art Revisited Global Perspective from Archaeology and Art History, New-York: Routledge, 2023.
What is it that we have done, when we did Art History? – November 14th 2024. View the Video on YouTube
· Aesthetic narratives for ancient art : Pliny, Vasari , Winckelmann
· Working on the forms : Riegl, Beazley
· For North-Africa and West-Asia : Amiet, Godard, Winter
Pliny the Elder, The Natural History, translated by John Bostock and H. T. Riley, Perseus, 1855.
Pliny The Elder, The Natural History Book 1-37, translated by H. Rackham, Cambridge (MA): Havard University Press, 1938.
Pliny the Elder, The Natural History Book 2-6, translated by Brian Turner and Richard A. Talbert, Cambridge (UK): Cambridge University Press, 2022.
Anguissola, Anna and Grüner, Andrea (Eds.), The nature of art: Pliny the Elder on materials, Turnhout: Brepols, 2020.
Giorgio Vasari, Lives of the most eminent architects, painters and sculptors of Italy, translated by Betty Burroughs and Eliza Foster, New-York: Simon and Schuster, 1946.
Rowland, Ingrid D., The collector of lives: Giorgio Vasari and the invention of art, New-York: W. W. Norton & Company, 2017.
So, what exactly is it that we do, when we do Art History ? – November 21st 2024. View the video on YouTube
· Is what we see what they saw ? Neuro-sciences and cognitive sciences in Art History
· Studying what we see : close-reading images
Appenzeller O., Amm M., Jones H., A Brief Exploration of Neurological Art History, Journal of the History of Neurosciences, 13, 2004, pp.345-350.
Cavanagh P., Conway B. R., Freedberg D., Rosenberg R., Jolle E., Sciences cognitives et histoire de l’art, une coopération en devenir ?, Perspectives : Période moderne/Epoque contemporaine, 2013, pp.101-118.
Seeley W. P., Naturalizing aesthetics: art and cognitive neuroscience of vision, Journal of Visual Art Practice, 5, 2006, pp.195-213.
But is what we see what we see ? - November 28th 2024. View the Video on YouTube
· The notion of mimesis and the use of veterinary sciences in Art History
Roman FRIGG and Matthew HUNTER, Beyond Mimesis and Convention Representation in Art and Sciences, Boston Studies In the Philosophy of Science (vol.262), Springer: Dordrecht, Heidelberg, London and New-York, 2010.
Stephen HALLIWELL, The Aesthetics of Mimesis: Ancient Texts and Modern Problemns, Princeton University Press: Princeton, 2002.
Matthew POTOLSKY, Mimesis, London : Routledge, 2006.
Göran SÖRBOM, The Classical Concept of Mimesis, in Paul SMITH and Carolyn WILDE (Eds.), A Companion to Art Theory, Wiley Blackwell: Oxford, 2002.
Margaux SPRUYT, Un visage animal dans les reliefs ninivites d’Assurbanipal (VIIe siècle av J.-C .) ? Le cas du cheval (Equus caballus Linnaeus, 1758) et du lion (Panthera Leo Linnaeus, 1758), Anthropozoologica, vol.58/6, 2023, p.73-84 .
Paul WOODRUFF, Mimesis, in Pierre DESTRÉE and Pénélope MURRAY (Eds.), A Companion to Ancient Aesthetics, Wiley Blacwell : Oxford, 2015.
But is what we see a story told ? -December 5th 2024. View the Video on YouTube
· Ancient images as the first comics and movies : see the work of the french pre-historian Marc Azéma, and Watanabee on Assyrian reliefs
· The silverware with a royal hunt iconography : a diplomatic story to tell
Ghirshman, Roman, Iran Parthes et Sassanides, Paris : Gallimard, 1962.
Harper, Prudence Olive, The Royal Hunter Art of the Sasanian Empire, Exhibition, New-York City, the asia House Gallery, 1978, New-York : John Weatherhill, INC and the Asia Society, 1978.
Harper, Prudence Olive, Silver Vessels of the Sasanian Period, Volume one : Royal Imagery, New-York : The Metropolitan Museum of Art et Princeton University Press, 1981.
Les Perses sassanides, Fastes d’un empire oublié (224-642), Musée Cernuschi Musée des Arts de l’Asie de la Ville de Paris 15 septembre 30 décembre 2006, Paris : Editions Findakly et Paris-Musées, 2006.
Pope, Arthur Upham et Ackerman, Phyllis (Eds.), A Survey of Persian Art, volume VII, Plate 1-257, Pre-Islamic Art, New-York et Téhéran : Maxwell Aley Literary Associates et Soroush Press, The Shahbanu Farah Foundation.
Splendeur des Sassanides L’empire perse entre Rome et la Chine [224 – 642] 12 février au 25 avril 1993, Bruxelles : Musées Royaux d’Art et d’Histoire, 1993, 310p.
Instructor: Delphine POINSOT, Collège de France and Institute for the Study of Ancient Cultures.
Delphine Poinsot in an associate researcher at the Collège de France (Paris) and works in collaboration with Pr. Frantz Grenet (chair of History and Cultures of pre-islamic central Asia). She obtained her Ph.D. in Art History in 2018 from the Ecole Pratique des Hautes Etudes (Paris) with a work on animals’ figurations in Sasanian seals and sealings (Late antique Iranian dynasty, from 22 to 651). Since then, she has been exploring the praxeology of animal iconography in Late Antiquity, using a multidisciplinary approach that draws on both art history and animal sicences. She also collaborates on the Persepolis Archive Project hosted by the Institute for the Study of the Ancient Cultures at the University of Chicago. The project gathers a group of researcher studying the Achaemenid (556-330 BCE) tablets from the site of Persepolis (Fars region, Iran). Delphine is working on the sealings depicting single animals’, anchoring the investigation of animal imagery in Late Antiquity in a long-term perspective of influence and legacy.
