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dc.contributor.authorRose, Sam
dc.identifier.citationRose , S 2017 , ' Close looking and conviction ' , Art History , vol. 40 , no. 1 , 156 , pp. 156-177 .
dc.identifier.otherPURE: 241227660
dc.identifier.otherPURE UUID: 8cd36550-5559-43c9-bab9-c2497fa206c5
dc.identifier.otherScopus: 84987941440
dc.identifier.otherORCID: /0000-0001-9461-502X/work/60631049
dc.identifier.otherWOS: 000394339700007
dc.descriptionResearch for this essay was supported by: the Arts and Humanities Research Council; the Courtauld Institute of Art; and Peterhouse, Cambridge.en
dc.description.abstractThis article offers theoretical and practical reflections on the operations involved in description and interpretation based on ‘close looking’. Explanations are given of the necessary appeal to contexts of origin or reception in order to disambiguate works of art, the widespread though rarely acknowledged reliance on an attenuated form of intention, and the way in practice that contexts are mobilised in the description or ‘redescription’ of works of art. Wider points made concern scepticism about the idea that works of art might determine their own interpretation (including problems with claims made as part of the phenomenological turn in image studies for the priority of direct or unmediated response to works of art), the quasi-allegorical nature of even ostensibly object-centred interpretation, and consequences of the fact that modernism can function as a kind of context.
dc.relation.ispartofArt Historyen
dc.rights© Association of Art Historians 2016. This work is made available online in accordance with the publisher’s policies. This is the author created, accepted version manuscript following peer review and may differ slightly from the final published version. The final published version of this work is available at:
dc.subjectND Paintingen
dc.titleClose looking and convictionen
dc.typeJournal articleen
dc.contributor.institutionUniversity of St Andrews.School of Art Historyen
dc.description.statusPeer revieweden

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