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part of their meaning. For these reasons Hellenic art is still exemplary, and
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part of their meaning. For these reasons Hellenic art is still exemplary, and Winckelmann’s text remains central in the historiography of style. Georg Wilhelm Friedrich Hegel codified the notion that each historical pe- riod will have a typical style. All forms of a culture, he thought, will be har- monious expressions of its spirit (Zeitgeist). One style will succeed another according to inexorable law. Authors influenced by Hegel have tended to search for the laws of style and its development. It follows that the Zeitgeist can be deduced from any time, and from any object: Baroque chairs, chariots and churches will all share certain forms, and each will express a commensu- rate spirit. In terms of style, this disallows the accidental and bends everything to a unified law. Winckelmann’s idealistic sense of style, in which the medium would ideally pose no obstacle to the transmutation from ‘idea’ to work of art, proved too anaemic for later generations. In Alois Riegl’s earlier writing, style is treated as ‘the mechanical result of raw material and technique’. ‘Style’ here means ‘free- dom from nature’, since the craftsman must obey inner laws of style rather than nature, fantasy or invention. In Riegl’s thinking, ‘style’ denotes convention rather than the idealistic naturalism envisioned by Winckelmann. The more idealistic strains of criticism are epitomized in Heinrich Wolf- flin’s “Kunstgeschichtliche Grundbegriffe” (1915), which posits a two-step progression from Renaissance to Baroque style. Works of art of any period are to be analysed with the help of five polar categories of form, the first term in each pair being the ‘Renaissance’ moment and the second the ‘Baroque’: (I) linear versus painterly, (II) forms parallel to the picture plane versus those receding into distance, (III) closed versus open, (IV) multiplicity versus unity and (V) clarity versus unclarity. The central place that Wolfflin continues to occupy in the study of art history cannot be adequately explained by the sup- posedly utilitarian nature of his categories, since they are not used even at the student level. But his book contains exceptionally eloquent closely observed descriptions, curiously offset by a problematic and often Hegelian framing text; its ongoing popularity probably also stems from the sense it gives that if art history were to have a solid foundation, a clear -governing doctrine, then this would be it. Ernst Gombrich sought to relieve the concept of its burden of Hegelian es- sentialism by distinguishing between normative and descriptive usages of style. The former is the conventional sense, according to which style can refer 138 to a tendency in culture as a whole. Gombrich proposed that style only be ap- plied in a descriptive sense. But this and similar restrictions prove to be less than useful, since the word ‘style’ is reached for most often precisely in cases where there is no conceivable alternate practice. Must the word ‘style’ be avoided when describing a Gothic sculpture, simply because the sculptor did not conceive the idea of stylistic choice? Purely in terms of logic, this is cor- rect (the idea of the possibility of choosing styles came into practice in the 15 th century), but it does not answer to the common experience of style as an ob- ject of study. From the mid-20 th century onwards, style analysis has been opposed to the study of meaning. In that way iconology and the study of cultural significance have come to be seen as a complement to style analysis, as if a work of art were a composite object made of a perfect balance of non-verbal style and verbal meaning. Scholars rejecting this view have also tended to be wary of style analysis, trying to avoid using it in their teaching and writing. Elkins J. Style // The Dictionary of Art / еd. by J. Turner. Vol. 29: Grove’s Dictionaries Inc., New York, 1996. P. 876–880. жүктеу/скачать 0,79 Mb. Достарыңызбен бөлісу:
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