Joseph Leo Koerner
Autor(a) de Caspar David Friedrich and the Subject of Landscape
About the Author
Joseph Leo Koerner is professor of history of art and architecture at Harvard University
Obras por Joseph Leo Koerner
Associated Works
Etiquetado
Conhecimento Comum
- Data de nascimento
- 1958-06-17
- Sexo
- male
- Nacionalidade
- USA
- Local de nascimento
- Pittsburgh, Pennsylvania, USA
- Locais de residência
- Cambridge, Massachusetts, USA
- Educação
- University of California, Berkeley (M.A. ∙ 1985 ∙ Ph.D ∙ 1988)
Clare College, Cambridge (M.A. ∙ 1982)
Yale University (B.A. ∙ 1980) - Ocupações
- Art Historian
Professor - Relações
- Koerner, Henry (father)
Koerner, Margaret K. (wife) - Organizações
- Harvard University
- Prémios e menções honrosas
- Mitchell Prize for Art History (1992)
American Academy of Arts and Sciences (1995)
American Philosophical Society (2008)
George Wittenborn Memorial Book Award (1994)
Membros
Críticas
Prémios
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Associated Authors
Estatísticas
- Obras
- 13
- Also by
- 2
- Membros
- 351
- Popularidade
- #68,159
- Avaliação
- 4.1
- Críticas
- 1
- ISBN
- 24
- Línguas
- 1
- Marcado como favorito
- 1
Koerner's writing is a pleasure to read, even when it reflects the complexity of his analyses.
And in a deeply respectful way, paintings to be discussed in depth appear on the page in advance with only identification of title, date, and location, allowing readers to enter each on their own, absorbing the image and let their minds play over it before Koerner begins his ideas.
Having no specialized art knowledge and little experience of art criticism, reading paintings as Koerner does is new and immensely pleasurable and rewarding. Here is part of his discussion about Fog, a painting now in Vienna that requires much looking and thinking. This reproduction, like most on the web, renders the pictorial elements much more visible than they actually are.
"...Fog implies within the represented scene the subjective process of perception and interpretation. And therefore, rather than regarding the landscape's haze or the picture's compositional disjunctions as, respectively, natural or artificial analogies to the human history of departure or death, it may be more appropriate to regard the painting's ostensible subject-matter -- ships departing from the shore, the soul's journey to eternal life, etc. -- as so many narratives explicating the picture's more basic plot, which is the difficult relation between subject and object, ourselves and the Vienna canvas."… (mais)