Chambres D'Amour: Tapestries of love and the texturing of space

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Abstract

The Flaying of Marsyas was rediscovered as a work by Titian in 1924. The state of factual knowledge about this painting has expanded only marginally during the last thirty years or so, although on the basis of this empirical database substantially different interpretations have been developed. Held argues that important positions and controversies in art history during the post-war period are crystallized in the relatively short history of the painting's reception, and the Flaying of Marsyas can therefore serve as a key exemplar for a discussion of the problems of a historically adequate pictorial analysis. Her articles focus on an analysis of the existing analyses of the painting, in order to clarify the foundations, range, and implications of the various procedures used. It seeks to demonstrate that methodological approaches establish interpretative preferences and are associated with exclusions-so that a certain amount of reception history, or of the history of scholarship, is also always tangible in the various analytical procedures. Only by taking this into account will the historian be able to assess critically the validity of their own interpretation, that is comparatively, and at the same time locate it in the intellectual field.

Original languageEnglish (US)
Pages (from-to)317-336
Number of pages20
JournalOxford Art Journal
Volume31
Issue number3
DOIs
StatePublished - Oct 2008

All Science Journal Classification (ASJC) codes

  • Visual Arts and Performing Arts
  • History

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