Terryl C. Givens
- Published in print:
- 2007
- Published Online:
- September 2007
- ISBN:
- 9780195167115
- eISBN:
- 9780199785599
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195167115.003.0019
- Subject:
- Religion, Religion and Society
The Paris Art Mission introduced European developments and training into Utah art at the turn of the century. Today, loose alliances like the New York Mormon Artists Group have supplanted efforts to ...
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The Paris Art Mission introduced European developments and training into Utah art at the turn of the century. Today, loose alliances like the New York Mormon Artists Group have supplanted efforts to create a self conscious style (as with the Art and Belief Movement). World class sculptors as well as prominent painters emerged by mid-century. A regular international art competition is the major vehicle for opening the church to cultural influences from beyond the United States.Less
The Paris Art Mission introduced European developments and training into Utah art at the turn of the century. Today, loose alliances like the New York Mormon Artists Group have supplanted efforts to create a self conscious style (as with the Art and Belief Movement). World class sculptors as well as prominent painters emerged by mid-century. A regular international art competition is the major vehicle for opening the church to cultural influences from beyond the United States.
Magdi Guirguis
- Published in print:
- 2008
- Published Online:
- January 2012
- ISBN:
- 9789774161520
- eISBN:
- 9781617971013
- Item type:
- book
- Publisher:
- American University in Cairo Press
- DOI:
- 10.5743/cairo/9789774161520.001.0001
- Subject:
- Society and Culture, Middle Eastern Studies
This book offers an unique window onto the social history of Cairo in the eighteenth century. Yuhanna al-Armani has long been known by historians of Coptic art as an eighteenth-century Armenian icon ...
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This book offers an unique window onto the social history of Cairo in the eighteenth century. Yuhanna al-Armani has long been known by historians of Coptic art as an eighteenth-century Armenian icon painter who lived and worked in Ottoman Cairo. Here for the first time is an account of his life that looks beyond his artistic production to place him firmly in the social, political, and economic milieu in which he moved and the confluence of interests that allowed him to flourish as a painter. Who was Yuhanna al-Armani? What was his network of relationships? How does this shed light on the contacts between Cairo's Coptic and Armenian communities in the eighteenth century? Why was there so much demand for his work at that particular time? And how did a member of Cairo's then relatively modest Armenian community reach such heights of artistic and creative endeavor? Drawing on eighteenth-century deeds relating to al-Armani and other members of his social network recorded in the registers of the Ottoman courts, this book offers a fascinating glimpse into the ways of life of urban dwellers in eighteenth-century Ottoman Cairo, at a time when a civilian elite had reached a high level of prominence and wealth. Al-Armani's life and career tell us much about the immediate world to which he belonged and about the wider context of the Ottoman Empire, which constituted a vast trading area under a single juridical whole.Less
This book offers an unique window onto the social history of Cairo in the eighteenth century. Yuhanna al-Armani has long been known by historians of Coptic art as an eighteenth-century Armenian icon painter who lived and worked in Ottoman Cairo. Here for the first time is an account of his life that looks beyond his artistic production to place him firmly in the social, political, and economic milieu in which he moved and the confluence of interests that allowed him to flourish as a painter. Who was Yuhanna al-Armani? What was his network of relationships? How does this shed light on the contacts between Cairo's Coptic and Armenian communities in the eighteenth century? Why was there so much demand for his work at that particular time? And how did a member of Cairo's then relatively modest Armenian community reach such heights of artistic and creative endeavor? Drawing on eighteenth-century deeds relating to al-Armani and other members of his social network recorded in the registers of the Ottoman courts, this book offers a fascinating glimpse into the ways of life of urban dwellers in eighteenth-century Ottoman Cairo, at a time when a civilian elite had reached a high level of prominence and wealth. Al-Armani's life and career tell us much about the immediate world to which he belonged and about the wider context of the Ottoman Empire, which constituted a vast trading area under a single juridical whole.
Nicholas Tromans
- Published in print:
- 2007
- Published Online:
- March 2012
- ISBN:
- 9780748625208
- eISBN:
- 9780748651313
- Item type:
- book
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748625208.001.0001
- Subject:
- Society and Culture, Cultural Studies
This book is about the artist David Wilkie (1785–1841), the first British painter to become an international celebrity. Based on original research, it explores the ways in which Wilkie's images, so ...
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This book is about the artist David Wilkie (1785–1841), the first British painter to become an international celebrity. Based on original research, it explores the ways in which Wilkie's images, so beloved by his contemporaries, engaged with a range of cultural predicaments close to their hearts. In a series of thematic chapters, whose concerns range far beyond the details of Wilkie's own career, the book shows how, through Wilkie's thrillingly original work, British society was able to reimagine its own everyday life, its history, and its multinational (Anglo-Scottish) nature. Other themes covered include Wilkie's roles in defining the border between painting and anatomy in the representation of the human body, and in transforming the pleasures of connoisseurship from an elite to a popular audience.Less
This book is about the artist David Wilkie (1785–1841), the first British painter to become an international celebrity. Based on original research, it explores the ways in which Wilkie's images, so beloved by his contemporaries, engaged with a range of cultural predicaments close to their hearts. In a series of thematic chapters, whose concerns range far beyond the details of Wilkie's own career, the book shows how, through Wilkie's thrillingly original work, British society was able to reimagine its own everyday life, its history, and its multinational (Anglo-Scottish) nature. Other themes covered include Wilkie's roles in defining the border between painting and anatomy in the representation of the human body, and in transforming the pleasures of connoisseurship from an elite to a popular audience.
PAUL BINSKI
- Published in print:
- 2003
- Published Online:
- January 2013
- ISBN:
- 9780197262795
- eISBN:
- 9780191753954
- Item type:
- chapter
- Publisher:
- British Academy
- DOI:
- 10.5871/bacad/9780197262795.003.0003
- Subject:
- History, Cultural History
The origins of the painters of the upper walls of the right (north) transept of the Upper Church of S. Francesco has mystified historians of the greatest early showcase of Italian narrative art. ...
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The origins of the painters of the upper walls of the right (north) transept of the Upper Church of S. Francesco has mystified historians of the greatest early showcase of Italian narrative art. These origins have been explored in a literature dominated by specialists in Italian and Byzantine art, and the conclusions have generally been the same, namely that the right transept was worked on by artists who were not only Italian but also French or English, and who remained content to work in distinctively native styles. This chapter argues that the case for specifically English influence at Assisi is actually vastly weaker than that proposed for Sigena, and that to understand the right transept we may have to look away from thirteenth-century London or Paris. This is not to rule out categorically the possibility of any English influence at Assisi; caution may simply help us to expose and understand the kinds of assumption about artistic identity and experience, which can be seen in practice to have influenced our understanding of what are exceedingly complex monuments that defy categorical definitions of personal, group, or national style.Less
The origins of the painters of the upper walls of the right (north) transept of the Upper Church of S. Francesco has mystified historians of the greatest early showcase of Italian narrative art. These origins have been explored in a literature dominated by specialists in Italian and Byzantine art, and the conclusions have generally been the same, namely that the right transept was worked on by artists who were not only Italian but also French or English, and who remained content to work in distinctively native styles. This chapter argues that the case for specifically English influence at Assisi is actually vastly weaker than that proposed for Sigena, and that to understand the right transept we may have to look away from thirteenth-century London or Paris. This is not to rule out categorically the possibility of any English influence at Assisi; caution may simply help us to expose and understand the kinds of assumption about artistic identity and experience, which can be seen in practice to have influenced our understanding of what are exceedingly complex monuments that defy categorical definitions of personal, group, or national style.
Andrew Steptoe (ed.)
- Published in print:
- 1998
- Published Online:
- March 2012
- ISBN:
- 9780198523734
- eISBN:
- 9780191688997
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198523734.001.0001
- Subject:
- Psychology, Cognitive Psychology
Taking as examples the lives of creative individuals through history, this book considers the nature of creativity and genius from a psychological standpoint. Eleven chapters, contributed by leading ...
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Taking as examples the lives of creative individuals through history, this book considers the nature of creativity and genius from a psychological standpoint. Eleven chapters, contributed by leading researchers, span the range of approaches used to understand the subject. A discussion of heredity considers the extent to which genes play a part in giftedness. The importance of social context in defining and acknowledging creativity is explored. Several chapters look at training and skill development in exceptional individuals, and a number of contributions scrutinize the links between creativity, temperament, and mental health. Mozart's precocity, Byron's mania, the personalities of the Italian Renaissance painters, and the psychoses of many celebrated writers are all discussed.Less
Taking as examples the lives of creative individuals through history, this book considers the nature of creativity and genius from a psychological standpoint. Eleven chapters, contributed by leading researchers, span the range of approaches used to understand the subject. A discussion of heredity considers the extent to which genes play a part in giftedness. The importance of social context in defining and acknowledging creativity is explored. Several chapters look at training and skill development in exceptional individuals, and a number of contributions scrutinize the links between creativity, temperament, and mental health. Mozart's precocity, Byron's mania, the personalities of the Italian Renaissance painters, and the psychoses of many celebrated writers are all discussed.
Charles Hope
- Published in print:
- 2003
- Published Online:
- January 2013
- ISBN:
- 9780197262788
- eISBN:
- 9780191754210
- Item type:
- chapter
- Publisher:
- British Academy
- DOI:
- 10.5871/bacad/9780197262788.003.0011
- Subject:
- History, Historiography
Publication of Patrons and Painters (1963), which dealt with art in 17th-century Rome and 18th-century Venice, established Francis Haskell as one of the leading art historians of his generation. He ...
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Publication of Patrons and Painters (1963), which dealt with art in 17th-century Rome and 18th-century Venice, established Francis Haskell as one of the leading art historians of his generation. He held posts at King's College Cambridge and was then appointed Professor of the History of Art at Oxford University with a Fellowship at Trinity College. Haskell turned to studying French painting of the 19th century. Rediscoveries in Art: Some Aspects of Taste, Fashion and Collecting in England and France (1976) won the Mitchell Prize for Art History. Haskell was elected a Fellow of the British Academy in 1971. Obituary by Charles Hope.Less
Publication of Patrons and Painters (1963), which dealt with art in 17th-century Rome and 18th-century Venice, established Francis Haskell as one of the leading art historians of his generation. He held posts at King's College Cambridge and was then appointed Professor of the History of Art at Oxford University with a Fellowship at Trinity College. Haskell turned to studying French painting of the 19th century. Rediscoveries in Art: Some Aspects of Taste, Fashion and Collecting in England and France (1976) won the Mitchell Prize for Art History. Haskell was elected a Fellow of the British Academy in 1971. Obituary by Charles Hope.
Robert Wyatt and John Andrew Johnson
- Published in print:
- 2007
- Published Online:
- October 2011
- ISBN:
- 9780195327113
- eISBN:
- 9780199851249
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195327113.003.0002
- Subject:
- Music, Popular
This chapter presents Frances Gershwin Godowski's opinion about her brother George Gershwin. It states that Gershwin had a reputation as a ladies' man, however, he was always somewhat guarded about ...
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This chapter presents Frances Gershwin Godowski's opinion about her brother George Gershwin. It states that Gershwin had a reputation as a ladies' man, however, he was always somewhat guarded about more personal details. Despite his great success and peer pressure, Gershwin never married and was to some degree self-conscious or defensive about most aspects of his life and work. It adds that Gershwin was a good painter and dancer.Less
This chapter presents Frances Gershwin Godowski's opinion about her brother George Gershwin. It states that Gershwin had a reputation as a ladies' man, however, he was always somewhat guarded about more personal details. Despite his great success and peer pressure, Gershwin never married and was to some degree self-conscious or defensive about most aspects of his life and work. It adds that Gershwin was a good painter and dancer.
Robert Wyatt and John Andrew Johnson
- Published in print:
- 2007
- Published Online:
- October 2011
- ISBN:
- 9780195327113
- eISBN:
- 9780199851249
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195327113.003.0067
- Subject:
- Music, Popular
This chapter presents the text of George Gershwin's letters to his cousin Henry Botkin in 1937. Botkin was a painter and helped encourage Gershwin's interest in the fine arts. He also served as ...
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This chapter presents the text of George Gershwin's letters to his cousin Henry Botkin in 1937. Botkin was a painter and helped encourage Gershwin's interest in the fine arts. He also served as adviser and buyer of Gershwin's collections of French Impressionist watercolors, drawings, and paintings. Their correspondence also reveals that Botkin assisted the Gershwin brothers in their business affairs in the East Coast.Less
This chapter presents the text of George Gershwin's letters to his cousin Henry Botkin in 1937. Botkin was a painter and helped encourage Gershwin's interest in the fine arts. He also served as adviser and buyer of Gershwin's collections of French Impressionist watercolors, drawings, and paintings. Their correspondence also reveals that Botkin assisted the Gershwin brothers in their business affairs in the East Coast.
Robert Holland
- Published in print:
- 2018
- Published Online:
- May 2019
- ISBN:
- 9780300235920
- eISBN:
- 9780300240870
- Item type:
- book
- Publisher:
- Yale University Press
- DOI:
- 10.12987/yale/9780300235920.001.0001
- Subject:
- History, Social History
Ever since the age of the Grand Tour in the eighteenth century, the Mediterranean has had a significant pull for Britons — including many painters and poets — who sought from it the inspiration, ...
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Ever since the age of the Grand Tour in the eighteenth century, the Mediterranean has had a significant pull for Britons — including many painters and poets — who sought from it the inspiration, beauty, and fulfilment that evaded them at home. Referred to as ‘Magick Land’ by one traveller, dreams about the Mediterranean, and responses to it, went on to shape the culture of a nation. This book charts how a new sensibility arose from British engagement with the Mediterranean, ancient and modern. Ranging from Byron's poetry to Damien Hirst's installations, the book shows that while idealized visions and aspirations often met with disillusionment and frustration, the Mediterranean also offered a notably insular society the chance to enrich itself through an imagined world of colour, carnival, and sensual self-discovery.Less
Ever since the age of the Grand Tour in the eighteenth century, the Mediterranean has had a significant pull for Britons — including many painters and poets — who sought from it the inspiration, beauty, and fulfilment that evaded them at home. Referred to as ‘Magick Land’ by one traveller, dreams about the Mediterranean, and responses to it, went on to shape the culture of a nation. This book charts how a new sensibility arose from British engagement with the Mediterranean, ancient and modern. Ranging from Byron's poetry to Damien Hirst's installations, the book shows that while idealized visions and aspirations often met with disillusionment and frustration, the Mediterranean also offered a notably insular society the chance to enrich itself through an imagined world of colour, carnival, and sensual self-discovery.
David Cunning
- Published in print:
- 2010
- Published Online:
- September 2010
- ISBN:
- 9780195399608
- eISBN:
- 9780199866502
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195399608.003.0002
- Subject:
- Philosophy, General
This chapter treats a number of interpretive issues including the ontological status of the simple natures that survive the painter analogy, the transparent truths and whether or not they are clearly ...
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This chapter treats a number of interpretive issues including the ontological status of the simple natures that survive the painter analogy, the transparent truths and whether or not they are clearly and distinctly perceived, and the status of the possibility that God does not exist or that He (or perhaps an evil demon) is a deceiver. The chapter considers the first two interpretive issues and argues that they are easily resolved if we take seriously that the Meditations is written for a variety of minds.. With respect to the issue of skepticism and hyperbolic doubt, the chapter argues that different meditators take seriously different possibilities about how they might be deceived, but that they posit the existence of these possibilities hastily and without evaluation. They have not yet considered the much better arguments that show that God exists and is the author of all actualities and possibilities, and they have not yet determined which possibilities God has actually created. The chapter argues that the reasoning of the dream argument is similarly unreflective and confused. The chapter concludes with a discussion of the First Meditation representation of freedom and a discussion of the dubitability of math and geometry.Less
This chapter treats a number of interpretive issues including the ontological status of the simple natures that survive the painter analogy, the transparent truths and whether or not they are clearly and distinctly perceived, and the status of the possibility that God does not exist or that He (or perhaps an evil demon) is a deceiver. The chapter considers the first two interpretive issues and argues that they are easily resolved if we take seriously that the Meditations is written for a variety of minds.. With respect to the issue of skepticism and hyperbolic doubt, the chapter argues that different meditators take seriously different possibilities about how they might be deceived, but that they posit the existence of these possibilities hastily and without evaluation. They have not yet considered the much better arguments that show that God exists and is the author of all actualities and possibilities, and they have not yet determined which possibilities God has actually created. The chapter argues that the reasoning of the dream argument is similarly unreflective and confused. The chapter concludes with a discussion of the First Meditation representation of freedom and a discussion of the dubitability of math and geometry.
R. W. Maslen
- Published in print:
- 1997
- Published Online:
- October 2011
- ISBN:
- 9780198119913
- eISBN:
- 9780191671241
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198119913.003.0003
- Subject:
- Literature, 16th-century and Renaissance Literature
The second chapter considers the impact on Elizabethan fiction of the story-collections of William Painter, Geoffrey Fenton, and the little-known fabulists who worked alongside them. By the 1560s, ...
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The second chapter considers the impact on Elizabethan fiction of the story-collections of William Painter, Geoffrey Fenton, and the little-known fabulists who worked alongside them. By the 1560s, the animal fable was a relatively domesticated genre: classical precedent and a long fabular tradition in English had effectively drawn its teeth. Continental prose fiction, on the other hand, was wild. Its early translators handled it as if it were an expensive and highly dangerous exotic beast which needed to be kept at bay with every editorial control at their disposal. The 1560s brought two major shipments: William Painter's The Palace of Pleasure, which appeared in two volumes in 1566 and 1567, and Geoffrey Fenton's menagerie of Franco–Italian romantic thrillers, the Tragicall Discourses of 1567.Less
The second chapter considers the impact on Elizabethan fiction of the story-collections of William Painter, Geoffrey Fenton, and the little-known fabulists who worked alongside them. By the 1560s, the animal fable was a relatively domesticated genre: classical precedent and a long fabular tradition in English had effectively drawn its teeth. Continental prose fiction, on the other hand, was wild. Its early translators handled it as if it were an expensive and highly dangerous exotic beast which needed to be kept at bay with every editorial control at their disposal. The 1560s brought two major shipments: William Painter's The Palace of Pleasure, which appeared in two volumes in 1566 and 1567, and Geoffrey Fenton's menagerie of Franco–Italian romantic thrillers, the Tragicall Discourses of 1567.
T. C. W. BLANNING
- Published in print:
- 2002
- Published Online:
- October 2011
- ISBN:
- 9780198227458
- eISBN:
- 9780191678707
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198227458.003.0004
- Subject:
- History, European Early Modern History, Cultural History
This chapter describes the pole position enjoyed by creative artists, such as painters, architects, musicians, and actors and actresses, during a time, around the 17th century, when culture placed a ...
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This chapter describes the pole position enjoyed by creative artists, such as painters, architects, musicians, and actors and actresses, during a time, around the 17th century, when culture placed a high value on visual representation. The development of individualism in the Italian Renaissance and the sharp competition among patrons lifted painters and architects out of the anonymity and handicrafts status of the guild tradition. This chapter also examines the salaries and lifestyles of these artists, particularly of the musicians Haydn, Mozart, Frederick, and Lully. The ideal situation during this period — and indeed any other period — was for a patron to combine munificence with respect and for the artist to feel comfortable with the demands placed on him. Lastly, this chapter notes that during this period, the courtly absolutist culture which had reached its apogee with Louis XIV’s Versailles seemed to have run out of steam.Less
This chapter describes the pole position enjoyed by creative artists, such as painters, architects, musicians, and actors and actresses, during a time, around the 17th century, when culture placed a high value on visual representation. The development of individualism in the Italian Renaissance and the sharp competition among patrons lifted painters and architects out of the anonymity and handicrafts status of the guild tradition. This chapter also examines the salaries and lifestyles of these artists, particularly of the musicians Haydn, Mozart, Frederick, and Lully. The ideal situation during this period — and indeed any other period — was for a patron to combine munificence with respect and for the artist to feel comfortable with the demands placed on him. Lastly, this chapter notes that during this period, the courtly absolutist culture which had reached its apogee with Louis XIV’s Versailles seemed to have run out of steam.
Aleksandra Shatskikh
- Published in print:
- 2012
- Published Online:
- October 2013
- ISBN:
- 9780300140897
- eISBN:
- 9780300162295
- Item type:
- chapter
- Publisher:
- Yale University Press
- DOI:
- 10.12987/yale/9780300140897.003.0006
- Subject:
- History, European Modern History
This chapter, which sums up the key findings of this study on Russian avant-garde painter Kazimir Malevich's painting called Black Square and the origin of Suprematism, explains that Malevich began ...
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This chapter, which sums up the key findings of this study on Russian avant-garde painter Kazimir Malevich's painting called Black Square and the origin of Suprematism, explains that Malevich began his move toward absolute nonobjectivity in 1913 and describes his Fevralism era, which lasted from early 1914 until mid-1915. It also suggests that the appearance of Black Square in June 1915 marked a change in artistic paradigms, and in formulaic form crystallized the end and beginning of major epochs.Less
This chapter, which sums up the key findings of this study on Russian avant-garde painter Kazimir Malevich's painting called Black Square and the origin of Suprematism, explains that Malevich began his move toward absolute nonobjectivity in 1913 and describes his Fevralism era, which lasted from early 1914 until mid-1915. It also suggests that the appearance of Black Square in June 1915 marked a change in artistic paradigms, and in formulaic form crystallized the end and beginning of major epochs.
Ernest Forssgren
William C. Carter (ed.)
- Published in print:
- 2006
- Published Online:
- October 2013
- ISBN:
- 9780300114638
- eISBN:
- 9780300133363
- Item type:
- book
- Publisher:
- Yale University Press
- DOI:
- 10.12987/yale/9780300114638.001.0001
- Subject:
- Literature, 20th-century Literature and Modernism
The memoirs of Ernest Forssgren (1894–1970), the young Swede who served as Marcel Proust's last valet, provide new insights into Proust's life and death. Previously, Forssgren's memoir has been ...
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The memoirs of Ernest Forssgren (1894–1970), the young Swede who served as Marcel Proust's last valet, provide new insights into Proust's life and death. Previously, Forssgren's memoir has been published only in excerpts, in French, with serious omissions and alterations. This book presents the complete text of the memoir. Also included here is other new material: the inscriptions that Proust wrote for Forssgren's copy of Swann's Way; an important telegram that Proust sent Forssgren, which defines with greater precision the novelist's activities in the final months of his life; Forssgren's “Summary” of the first English biography of Proust, by George D. Painter, which provides many new details about Proust's last trip to Cabourg in 1914 and his attempts at seducing young men of the servant class; and the notes that Forssgren made in his copy of Painter's biography.Less
The memoirs of Ernest Forssgren (1894–1970), the young Swede who served as Marcel Proust's last valet, provide new insights into Proust's life and death. Previously, Forssgren's memoir has been published only in excerpts, in French, with serious omissions and alterations. This book presents the complete text of the memoir. Also included here is other new material: the inscriptions that Proust wrote for Forssgren's copy of Swann's Way; an important telegram that Proust sent Forssgren, which defines with greater precision the novelist's activities in the final months of his life; Forssgren's “Summary” of the first English biography of Proust, by George D. Painter, which provides many new details about Proust's last trip to Cabourg in 1914 and his attempts at seducing young men of the servant class; and the notes that Forssgren made in his copy of Painter's biography.
Martin Beckmann
- Published in print:
- 2011
- Published Online:
- July 2014
- ISBN:
- 9780807834619
- eISBN:
- 9781469603025
- Item type:
- chapter
- Publisher:
- University of North Carolina Press
- DOI:
- 10.5149/9780807877777_beckmann.10
- Subject:
- Classical Studies, Archaeology: Classical
This chapter shows how it seems an impossible task to determine how many men worked on carving the frieze of the Column of Marcus Aurelius. The most powerful method of determining the number of ...
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This chapter shows how it seems an impossible task to determine how many men worked on carving the frieze of the Column of Marcus Aurelius. The most powerful method of determining the number of carvers at work on the column is to look for the signatures of individual carvers—not written signatures, but stylistic ones. This technique, first pioneered by Giovanni Morelli for the identification of Italian Renaissance painters and later used to great effect by Sir John Beazley for the identification of Greek vase painters, usually relies on identifying peculiarities in the treatment of specific body parts. The method is much more difficult with sculpture than with two-dimensional painting, especially in the case of the Column of Marcus Aurelius, where most of the work must be done from photographs.Less
This chapter shows how it seems an impossible task to determine how many men worked on carving the frieze of the Column of Marcus Aurelius. The most powerful method of determining the number of carvers at work on the column is to look for the signatures of individual carvers—not written signatures, but stylistic ones. This technique, first pioneered by Giovanni Morelli for the identification of Italian Renaissance painters and later used to great effect by Sir John Beazley for the identification of Greek vase painters, usually relies on identifying peculiarities in the treatment of specific body parts. The method is much more difficult with sculpture than with two-dimensional painting, especially in the case of the Column of Marcus Aurelius, where most of the work must be done from photographs.
Karen Junod
- Published in print:
- 2011
- Published Online:
- May 2011
- ISBN:
- 9780199597000
- eISBN:
- 9780191725357
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199597000.001.0001
- Subject:
- Literature, 18th-century Literature, 19th-century Literature and Romanticism
This book explores the development of artists' biographies in eighteenth- and early nineteenth-century Britain. The development of the art market and the burgeoning of an exhibition culture all ...
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This book explores the development of artists' biographies in eighteenth- and early nineteenth-century Britain. The development of the art market and the burgeoning of an exhibition culture all contributed to redefining the rank of artists in society. This social redefinition of the status of artists in Britain was shaped by a thriving print culture. Contemporary artists were discussed in a wide range of literary forms, including exhibition reviews, art-critical pamphlets, and journalistic gossip-columns. Biographical accounts of modern artists emerged in a dialogue with these other types of writing. This book is an account of a new literary genre, tracing its emergence in the cultural context of the late eighteenth and early nineteenth centuries. It considers artistic biography as a malleable generic framework for investigation. Indeed, while the lives of painters in Britain did not completely abandon traditional tropes, the genre significantly widened its scope and created new individual and social narratives that reflected and accommodated the needs and desires of new reading audiences. This book also maintains that the proliferation of a myriad biographical forms mirrored the privileging of artistic originality and difference within an art world that had yet to generate a coherent ‘British School’ of painting. Finally, by focusing on the emergence of individual biographies of British artists, this book examines how and why the art-historiographic model established by Georgio Vasari was gradually dismantled in the hands of British biographers during the Romantic period.Less
This book explores the development of artists' biographies in eighteenth- and early nineteenth-century Britain. The development of the art market and the burgeoning of an exhibition culture all contributed to redefining the rank of artists in society. This social redefinition of the status of artists in Britain was shaped by a thriving print culture. Contemporary artists were discussed in a wide range of literary forms, including exhibition reviews, art-critical pamphlets, and journalistic gossip-columns. Biographical accounts of modern artists emerged in a dialogue with these other types of writing. This book is an account of a new literary genre, tracing its emergence in the cultural context of the late eighteenth and early nineteenth centuries. It considers artistic biography as a malleable generic framework for investigation. Indeed, while the lives of painters in Britain did not completely abandon traditional tropes, the genre significantly widened its scope and created new individual and social narratives that reflected and accommodated the needs and desires of new reading audiences. This book also maintains that the proliferation of a myriad biographical forms mirrored the privileging of artistic originality and difference within an art world that had yet to generate a coherent ‘British School’ of painting. Finally, by focusing on the emergence of individual biographies of British artists, this book examines how and why the art-historiographic model established by Georgio Vasari was gradually dismantled in the hands of British biographers during the Romantic period.
Jean-Luc Nancy
- Published in print:
- 2013
- Published Online:
- September 2013
- ISBN:
- 9780823250936
- eISBN:
- 9780823252671
- Item type:
- chapter
- Publisher:
- Fordham University Press
- DOI:
- 10.5422/fordham/9780823250936.003.0004
- Subject:
- Philosophy, Aesthetics
This section argues that drawing is represented, experienced, and experimented with as a compulsion. This compulsion is evident in several painters such as Michelangelo, whose “genius led him to the ...
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This section argues that drawing is represented, experienced, and experimented with as a compulsion. This compulsion is evident in several painters such as Michelangelo, whose “genius led him to the pleasure of drawing.” In the introduction to Aesthetic Theory, Theodor Adorno vehemently opposes the vision of art as “sensual pleasure,” suggesting that “sensual pleasure” is a consumptive, bourgeois satisfaction that loathes admiration and contemplation. Both admiration and contemplation are a form of pleasure, but a pleasure that satisfies itself in transporting a subject outside itself. Also included in this section is a “Sketchbook” of quotations on art from Henri Matisse, Stendhal, Baldassare Castiglione, John Berger, and Emmanuel Levinas.Less
This section argues that drawing is represented, experienced, and experimented with as a compulsion. This compulsion is evident in several painters such as Michelangelo, whose “genius led him to the pleasure of drawing.” In the introduction to Aesthetic Theory, Theodor Adorno vehemently opposes the vision of art as “sensual pleasure,” suggesting that “sensual pleasure” is a consumptive, bourgeois satisfaction that loathes admiration and contemplation. Both admiration and contemplation are a form of pleasure, but a pleasure that satisfies itself in transporting a subject outside itself. Also included in this section is a “Sketchbook” of quotations on art from Henri Matisse, Stendhal, Baldassare Castiglione, John Berger, and Emmanuel Levinas.
William C. Carter
- Published in print:
- 2006
- Published Online:
- October 2013
- ISBN:
- 9780300114638
- eISBN:
- 9780300133363
- Item type:
- chapter
- Publisher:
- Yale University Press
- DOI:
- 10.12987/yale/9780300114638.003.0003
- Subject:
- Literature, 20th-century Literature and Modernism
This chapter presents an introduction to Forssgren's memoirs and related documents. Forssgren's decision to write his memoirs was provoked by the publication in 1965 of the second and concluding ...
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This chapter presents an introduction to Forssgren's memoirs and related documents. Forssgren's decision to write his memoirs was provoked by the publication in 1965 of the second and concluding volume of George D. Painter's biography of Marcel Proust. Painter's biography provided details about Proust's homosexuality, including the procurement of young men from the servant class, and Forssgren seemed to have feared for his reputation.Less
This chapter presents an introduction to Forssgren's memoirs and related documents. Forssgren's decision to write his memoirs was provoked by the publication in 1965 of the second and concluding volume of George D. Painter's biography of Marcel Proust. Painter's biography provided details about Proust's homosexuality, including the procurement of young men from the servant class, and Forssgren seemed to have feared for his reputation.
Helen Jacobsen
- Published in print:
- 2011
- Published Online:
- January 2012
- ISBN:
- 9780199693757
- eISBN:
- 9780191731976
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199693757.003.0010
- Subject:
- History, British and Irish Early Modern History, Cultural History
By contrast with the other four men in these case studies, the earl of Strafford was never an arbiter of taste and was concerned only with following the latest fashions. Yet paradoxically it was by ...
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By contrast with the other four men in these case studies, the earl of Strafford was never an arbiter of taste and was concerned only with following the latest fashions. Yet paradoxically it was by emulating prevailing styles in personal and material display rather than by creating them that he looked to manage his identity as a successful diplomat, and his career demonstrates the increasing importance of the material world in diplomatic life. By 1700 a diplomat’s overseas residence had become an important locus of display, and not just his carriages, plate, and dress but also his furniture, pictures, and furnishings fulfilled a significant role in ambassadorial etiquette. Strafford patronized architects, cabinet-makers, silversmiths, artists, upholsterers, and decorative painters to ensure that his position as a senior minister was clearly evidenced by his material world – to both the English social elite and to his foreign diplomatic colleagues.Less
By contrast with the other four men in these case studies, the earl of Strafford was never an arbiter of taste and was concerned only with following the latest fashions. Yet paradoxically it was by emulating prevailing styles in personal and material display rather than by creating them that he looked to manage his identity as a successful diplomat, and his career demonstrates the increasing importance of the material world in diplomatic life. By 1700 a diplomat’s overseas residence had become an important locus of display, and not just his carriages, plate, and dress but also his furniture, pictures, and furnishings fulfilled a significant role in ambassadorial etiquette. Strafford patronized architects, cabinet-makers, silversmiths, artists, upholsterers, and decorative painters to ensure that his position as a senior minister was clearly evidenced by his material world – to both the English social elite and to his foreign diplomatic colleagues.
Ramón Cernuda
- Published in print:
- 2019
- Published Online:
- May 2020
- ISBN:
- 9781683400905
- eISBN:
- 9781683401193
- Item type:
- chapter
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9781683400905.003.0006
- Subject:
- Society and Culture, Latin American Studies
Art collector Ramón Cernuda discusses how Cuban art was consolidated during the first half of the twentieth century, especially after the emergence of two generations of modern artists that are now ...
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Art collector Ramón Cernuda discusses how Cuban art was consolidated during the first half of the twentieth century, especially after the emergence of two generations of modern artists that are now considered the core of the vanguardia (also known as the Havana School). Cernuda notes that the international art market increasingly valued the work of Cuban artists such as Amelia Peláez, Víctor Manuel García, René Portocarrero, and Wifredo Lam. These artists appeared in numerous individual and collective exhibitions in major museums and private galleries, as well as in specialized art magazines and books. As Cernuda underlines, Cuban vanguardia painters reached a broad audience with Alfred Barr Jr.’s 1944 exhibition, Modern Cuban Painters, at the Museum of Modern Art (MoMA) in New York City. Ironically, the wide success of Cuban artists abroad led Cuban collectors to pay attention to them.Less
Art collector Ramón Cernuda discusses how Cuban art was consolidated during the first half of the twentieth century, especially after the emergence of two generations of modern artists that are now considered the core of the vanguardia (also known as the Havana School). Cernuda notes that the international art market increasingly valued the work of Cuban artists such as Amelia Peláez, Víctor Manuel García, René Portocarrero, and Wifredo Lam. These artists appeared in numerous individual and collective exhibitions in major museums and private galleries, as well as in specialized art magazines and books. As Cernuda underlines, Cuban vanguardia painters reached a broad audience with Alfred Barr Jr.’s 1944 exhibition, Modern Cuban Painters, at the Museum of Modern Art (MoMA) in New York City. Ironically, the wide success of Cuban artists abroad led Cuban collectors to pay attention to them.
