Additional information
by Ian Verstegen (Author)
This book is an account of the theory and practice of practitioners of the so-called "second" or "younger" Viennese school associated with Hans Sedlmayr and Otto Pächt and their short-lived journal, Kunstwissenschaftliche Forschungen. It demonstrates the strong dependence of these writers on the work of Gestalt psychology which was emerging at the time. Gestalt theory emerges as the master key to interpreting Sedlmayr and Pächt's ideas about art and history and how it affected their practices.
This fresh interpretive apparatus casts light on the power and originality of Sedlmayr's and Pächt's theoretical and empirical writings, revealing a practice-based approach to history that is more attuned to the visuality of art.
Verstegen demonstrates the existence of a genealogy of Vienna formalism coursing throughout most of the twentieth century, encompassing Johannes Wilde and his students at the Courtauld as well as Otto Demus in Byzantine studies. By bringing Gestalt theory to the surface, he dispels misunderstandings about the Vienna School theory and attains a deeper understanding of the promise that a Gestalt analytic holism - a non-intuitionist account of the relational logic of sense - is offered.
Back Jacket
Ian Verstegen gives us an account of the theory and practice of members of the so-called 'second' or 'younger' Viennese school associated with Hans Sedlmayr and Otto Pächt. He demonstrates the strong dependence of these writers on the work of nascent Gestalt psychology. Gestalt theory emerges as the master key to interpreting Sedlmayr and Pächt's ideas about art and history. Ian Verstegen is Associate Director of Visual Studies at the University of Pennsylvania. Trained in Italian Renaissance art history, he also writes on art theory and historiography.
Author Biography
Ian Verstegen is Associate Director of Visual Studies at University of Pennsylvania. Trained in Italian Renaissance art history, he also writes on art theory and historiography. He is the author of Arnheim, Gestalt and Art: A Psychological Theory (2004) and Arnheim, Gestalt and Media: An Ontological Theory (2018).
