One of the most significant developments in the study of works of
art over the past generation has been a shift in focus from the
works themselves to the viewer's experience of them and the
relation of that experience both to the works in question and to
other aspects of cultural life. The ten essays written for this
volume address the experience of art in early modern Europe and
approach it from a variety of methodological perspectives: concerns
range from the relation between its perceptual and significative
dimensions to the ways in which its discursive formation
anticipates but does not exactly correspond to later notions of
'aesthetic' experience. The modes of engagement vary from careful
empirical studies that explore the complex complementary
relationship between works of art and textual evidence of different
kinds to ambitious efforts to mobilize the powerful interpretative
tools of psychoanalysis and phenomenology. This diversity testifies
to the vitality of current interest in the experience of beholding
and the urgency of the challenge it poses to contemporary
art-historical practice.
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