From the end of the 1980s the innovations of Cultural Studies and the more recent positions of Visual Studies have been the object of a broad international debate. Having to deal with the postcolonial question in a renewed global dimension, art history has been affected by the methodological crisis which had already involved other historical disciplines. It therefore turned to several disciplines, among which anthropology, in order to update its own methods. Hans Belting took effective part in this debate without ever abandoning his studies in the field of medieval art, but moving closer to different histories and cultural areas. In this way he developed his Global Art History, research which extended from the study of art to that of its audience. Thematizing the historicity of the concept of art and the universalizing demand for a historicist approach, he consciously opened the geographical and cultural confines of his investigation. In the study of the image, Belting identified one of the cornerstones of his proposal and formulated the hypothesis of new narratives, free from the colonial gaze, necessary for the constitution of a Global Art History.
Tra storia dell’arte e antropologia delle immagini. Hans Belting, interprete della Global Art History
Maria Giovanna Mancini
2017
Abstract
From the end of the 1980s the innovations of Cultural Studies and the more recent positions of Visual Studies have been the object of a broad international debate. Having to deal with the postcolonial question in a renewed global dimension, art history has been affected by the methodological crisis which had already involved other historical disciplines. It therefore turned to several disciplines, among which anthropology, in order to update its own methods. Hans Belting took effective part in this debate without ever abandoning his studies in the field of medieval art, but moving closer to different histories and cultural areas. In this way he developed his Global Art History, research which extended from the study of art to that of its audience. Thematizing the historicity of the concept of art and the universalizing demand for a historicist approach, he consciously opened the geographical and cultural confines of his investigation. In the study of the image, Belting identified one of the cornerstones of his proposal and formulated the hypothesis of new narratives, free from the colonial gaze, necessary for the constitution of a Global Art History.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
