History of art

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history of art réfere usually with the history ofvisual art.

Because the concept of what is itart changed during, the history of art attempts to categorize these various definitions, to help to include/understand what melts art and the creative impulse of those which practise it.

The history of art was until recently a concept , while passing by until the contemporary productions most pointed.

History of the history of art

To make very diagrammatic, let us say that the history of art such as one conceived it Rebirth (with Giorgio Vasari and its Life of the Artists célebres, while passing by XVIII^E century of until XIX^E century ) is the history of a progress of art.

Art is supposed to pass from an antiquated stage, at a traditional stage and to fall in decline.

Greek and Roman art are presented in example of this curve of development.

For Greek art, the concept of art was different from that which is present in Western civilization. Indeed, in Greek, the word "art" was said "tekhné", . The Greeks did not make thus any difference betweencraftsman and it; "to only do it" seemed to have its importance.
The antiquated period corresponds to Minoan art, mycénien and cycladic; the traditional period with the apogee of creation attic (Parthenon with contemporary of the sculptures of of the theatre of and of the philosophers , , ...); follows the decline of the Athenian republic and that concomitant of art hellenistic until the Roman invasion.

For Roman art, the antiquated period is that of art frustrates and austere Republic; the classic art corresponds to the apogee of the Empire; the art of the Lower Empire (in particular paléo-Christian) to the simplified forms will be perceived like a decline under the blows of paring-irons of the cruel invasions.

The turning of this perception takes place with the publication, in , has , of the work ofAloïs Riegl, the art of the Roman Lower Empire which shows that the artistic creation which accompanies the fall by the Roman Empire, does not have to be interpreted like decline but like change of standard and birth of a new paradigm. One will note the agreement between the publication of this theoretical work and the artistic practice of which is freed then from the guns of the Art schools, a few years later Kandinsky and Kupka create the abstract premieres?uvres and Picasso and Direct cubism; like giving reason to Riegl...

From there, history of art (until there captive of the paradigm of the Rebirth: to make "revive" the apogee of the Antique arts and explain which are the conditions (aesthetic but also political, economic) of the creation of a "traditional" art) reconnait the plurality of the standards simultaneous stylistics (from where also, being given the collapse of a dogmatic and normative effort, the multiplication of the artistic currents) and attempts to note, to rather index, compare, explain arts than art.

chronological subdivision

prehistoric art

Antique art
- art mésopotamien
  - Assur
  - Sumer
  - Babylon
- Egyptian art
- Greek art
  - civilization minoenne
  - civilization mycénienne
  - traditional Greek art
  - art hellenistic
- Roman art
- art paléo-Christian

art of

Artistic rebirth
- Italian rebirth
- European rebirth

the traditional time
- classic art
- mannerism and it

the XIXe century and Art schools

- Pop Art
- Painting Action

geographical subdivision

arts of Islam

African art

arts of Asia
- Buddhist art, jaina and Hindu
- Chinese art
- Japanese art
- art Tibetan
- art of Indo-China

American art
- art pre-Colombian
  - Mexico City
  - Peru
  - basin of the Mississippi
  - Canada
- American art

subdivision set of themes

Historians of art

internal bond

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