dc.contributor.author | PIGNARRE-ALTERMATT, Thor-Oona Swanhild | |
dc.date.accessioned | 2021-02-22T15:47:39Z | |
dc.date.available | 2021-02-22T15:47:39Z | |
dc.date.issued | 2021 | |
dc.identifier.citation | European review of history, 2021, Vol. 28, No. 4, pp. 612-613 | en |
dc.identifier.issn | 1350-7486 | |
dc.identifier.issn | 1469-8293 | |
dc.identifier.uri | https://hdl.handle.net/1814/70006 | |
dc.description | First published online: 10 December 2020 | en |
dc.description.abstract | In the English edition of his monograph published in 2013 (Mehr al sein Bild. Für eine Kunstgeschichte des hyperimage, Munich, Wilhelm Fink, 2013), Felix Thürlemann proposes to focus on a specific practice of the display of images, which he terms ‘hyperimage’. Inspired by the concept of hypertext used in literary theory, ‘Hyperimage designates that a calculated grouping of selected image objects – paintings, drawings, photographs, and sculptures – forms a new, overarching unit’ (p. 1). As a counterpart to an art history traditionally conceived as the study of influences, where images are consequently gathered from a diachronic perspective, the approach of the hyperimage aims at investigating the synchronic display of images in a given space at a given time in history. | en |
dc.format.mimetype | application/pdf | |
dc.format.mimetype | application/pdf | en |
dc.language.iso | en | |
dc.publisher | Routledge | en |
dc.relation.ispartof | European review of history | en |
dc.rights | info:eu-repo/semantics/openAccess | en |
dc.title | More than one picture : an art history of the hyperimage | en |
dc.type | Article | |
dc.identifier.doi | 10.1080/13507486.2020.1846298 | |
dc.identifier.volume | 28 | en |
dc.identifier.startpage | 612 | en |
dc.identifier.endpage | 613 | en |
eui.subscribe.skip | true | |
dc.identifier.issue | 4 | en |
dc.embargo.terms | 2022-06-10 | |
dc.date.embargo | 2022-06-10 | |