翻訳と辞書 Words near each other ・ Max Lackmann ・ Max Lacroix ・ Max Huber (statesman) ・ Max Hudghton ・ Max Hudicourt ・ Max Huiberts ・ Max Hunter Harrison ・ Max Huwyler ・ Max Hymans ・ Max Hödel ・ Max Hürzeler ・ Max I. Silber ・ Max Ibel ・ Max Ilgner ・ Max Illingworth ・ Max Imdahl ・ Max Immelmann ・ MAX Index ・ Max Ippen ・ Max Irons ・ Max Isaac ・ MAX IV ・ Max J. Anderson House ・ Max Jacob ・ Max Jacob (puppeteer) ・ Max Jacobson ・ Max Jacoby ・ Max Jaffa ・ Max Jakob ・ Max Jakob Friedländer Dictionary Lists mini英和辞書 mini和英辞書 Webster 1913 Latin-English FOLDOC Wikipedia English ウィキペディア

翻訳と辞書　辞書検索 [ 開発暫定版 ] スポンサード リンク Max Imdahl ： ウィキペディア英語版 Max Imdahl Max Imdahl ( *September 6, 1925 in Aachen; †October 11, 1988 in Bochum) was a German art historian specialized in art historical methodology and the interpretation of modern art after World War II. ==Life and work== Imdahl studied studio painting, art history, archaeology and German literature at the University of Münster. For his paintings he won the Blevins Davis Prize, the most prestigious art contest of the postwar period in Germany,〔Hans Krabbendam and Giles Scott-Smith, ''The Cultural Cold War in Western Europe, 1945-60''. Abingdon, Oxon, 2003, p. 293.〕 in 1950. In 1951 he completed his Ph.D. dissertation on the treatment of color in late Carolingian book illustration under Werner Hager. He worked as an assistant professor at the University of Münster for some years and wrote his Habilitationsschrift on Ottonian Art in 1961. In 1965, he was appointed professor of art history at the newly founded Ruhr Universität Bochum, where he was engaged in promoting modern art and in advising the university's modern art collection. From 1986 until his death, he was also a member of the German Academy of Arts. Imdahl formulated a methodology he called "the Iconic," using an artwork's structure to determine its significance.〔Max Imdahl, ''Giotto: Arenafresken: Ikonographie, Ikonologie, Ikonik''. Munich: W. Fink, 1980.〕 His color analyses are characteristic of his approach. Furthermore, he primarily focused on examinations of the work of individual painters. Marxist interpreters accused him of using analytical methods that lacked historical awareness. They also criticized his preference for concrete (object-free) Western Art. In contrast, he found support for his ideas among philosophers and Catholic theologians. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Max Imdahl」の詳細全文を読む スポンサード リンク 翻訳と辞書 : 翻訳のためのインターネットリソース Copyright(C) kotoba.ne.jp 1997-2016. All Rights Reserved.