Helen Hills
Helen Hills is Professor of Art History in the Department of History of Art at the University of York. Research interests range from baroque theory to the matter of miracles, from architectural theory to the writing of architectural history, from baroque Naples and Palermo to architecture gender sexuality and religious devotion. Lately also memoir.
Phone: 01904643382
Address: Dept of History of Art
University of York
YO10 5DD
Phone: 01904643382
Address: Dept of History of Art
University of York
YO10 5DD
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Books by Helen Hills
In this book, scholars from a range of disciplines retrieve the term ‘baroque’ from the margins of art history where it has been sidelined as ‘anachronistic’, to reconsider the usefulness of the term ‘baroque’, while avoiding simply rehearsing familiar policing of periodization, stylistic boundaries, categories or essence. ‘Baroque’ emerges as a vital and productive way to rethink problems in art history, visual culture and architectural theory.
Rather than attempting to provide a survey of baroque as a chronological or geographical conception, the essays here attempt critical re-engagement with the term ‘baroque’ – its promise, its limits, and its overlooked potential – in relation to the visual arts. Thus the book is posited on the idea that tension is not only inevitable, but even desirable, since it not only encapsulates intellectual divergence (which is always as useful as much as it is feared), but helps to push scholars (and therefore readers) outside their usual runnels.
Baroque by Helen Hills
In this book, scholars from a range of disciplines retrieve the term ‘baroque’ from the margins of art history where it has been sidelined as ‘anachronistic’, to reconsider the usefulness of the term ‘baroque’, while avoiding simply rehearsing familiar policing of periodization, stylistic boundaries, categories or essence. ‘Baroque’ emerges as a vital and productive way to rethink problems in art history, visual culture and architectural theory.
Rather than attempting to provide a survey of baroque as a chronological or geographical conception, the essays here attempt critical re-engagement with the term ‘baroque’ – its promise, its limits, and its overlooked potential – in relation to the visual arts. Thus the book is posited on the idea that tension is not only inevitable, but even desirable, since it not only encapsulates intellectual divergence (which is always as useful as much as it is feared), but helps to push scholars (and therefore readers) outside their usual runnels.