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Bonnard
One of the most innovative and influential artists of the early twentieth century, the master of color, subjective realism, and emotional depth is rediscovered by an internationally renowned scholar in a ravishing, monumental volume. At the end of the nineteenth century, as a member of the avant- garde Nabis group, Pierre Bonnard actively participated in the construction of aesthetic modernity. His painting proposed new, radical formulas for transforming space and narrative as he advocated for art that embraced all techniques and challenged the traditional hierarchy of genres. Elegantly packaged, and filled with large, full-color, high quality reproductions this volume covers every facet of ...
2022
The first part of the yearbook contains ten essays on Futurist art and literature in Italy, France, Russia, Poland, Portugal and the former colony of Goa. Among other things, early Futurist publishing and propaganda initiatives by means of manifestos, press releases, and newssheets are examined, as well as Athos Casarini's artistic and political work undertaken in Italy and the USA. Articles in the second part deal with the 30th anniversary of the international Academy of Zaum as well as various conferences, exhibitions and publications celebrating the centenary of Zenitism in Serbia and Croatia. Critical responses to exhibitions, conferences and publications as well as a bibliographical section with information on 139 recent book publications on Futurism conclude the yearbook.
Looking at European Frames
"Works of art in their own right, frames play an essential and often overlooked role in complementing the artworks they support. The craft and history of European frames is a fascinating subject, and this volume provides a guide to the frame maker's art from the thirteenth to the nineteenth century." "This handbook features more than two hundred entries - arranged alphabetically from abacus to whiting - that concisely explain the materials and methods involved in the creation of frames. Illustrated with examples from the collection of the J. Paul Getty Museum, this reference tool is invaluable not only to professionals and collectors but also to anyone wishing to increase his or her understanding and enjoyment of frames." --Book Jacket.
The Muse
Psychoanalysts have long been fascinated with creative artists, but have paid far less attention to the men and women who motivate, stimulate, and captivate them. The Muse counters this trend with nine original contributions from distinguished psychoanalysts, art historians, and literary scholars—one for each of the nine muses of classical mythology—that explore the muses of disparate artists, from Nicholas Poussin to Alison Bechdel. The Muse breaks new ground, pushing the traditional conceptualization of muses by considering the roles of spouse, friend, rival, patron, therapist—even a late psychoanalytic theorist—in facilitating creativity. Moreover, they do so not only by providing...
Renoir Nudes
Renoir favored and sought a particular physical type, characterized by round, heart-shaped faces, snub noses, narrow, almond-shaped eyes, blushing cheeks, and wide, rose-colored mouths. Among his preferred models were Aline Charigot, Nini, Gabrielle Renard, a cousin of his wife, and Lise Trehot.
Cézanne's Other
"In the voluminous scholarship that's been written on Paul Cezanne, little has been said about the twenty-four portraits in oil that Cezanne made of his wife, Hortense Fiquet Cezanne, over an extended twenty-year period. In Cezanne's Other: The Portraits of Hortense, Susan Sidlauskas breaks new ground, focusing on these paintings as a group and looking particularly at the differences that render many of them unrecognizable as the same person. She argues that Cezanne sidestepped the conventional goals of portraiture-he avoids representing a consistent, identifiable physiognomy or conventional feminine postures and does not portray the subject's inner life-making lack of fixedness itself his s...
Impossible Presence
Impossible Presence brings together new work in film studies, critical theory, art history, and anthropology for a multifaceted exploration of the continuing proliferation of visual images in the modern era. It also asks what this proliferation—and the changing technologies that support it—mean for the ways in which images are read today and how they communicate with viewers and spectators. Framed by Terry Smith's introduction, the essays focus on two kinds of strangeness involved in experiencing visual images in the modern era. The first, explored in the book's first half, involves the appearance of oddities or phantasmagoria in early photographs and cinema. The second type of strangene...
Colours of Impressionism: Masterpieces from the Musée d’Orsay
One of the great innovations of the Impressionists was their radical use of colour: their application of strokes of complementary or contrasting hues captured the shifting effects of light and foregrounded the nature of vision. Using colour as the lens through which to magnify the movement’s intricacies, this catalogue sweeps us from Manet’s rich blacks, through green and blue landscapes of Monet and Cézanne, to the sensuous pinks of Renoir. Along this journey, scientific discoveries and emerging definitions of modernity are explored, illuminating the profound innovations of the Impressionists and the shifting preconceptions of their art.
Radical Art and the Formation of the Avant-Garde
An authoritative re-definition of the social, cultural and visual history of the emergence of the "avant-garde" in Paris and London Over the past fifty years, the term "avant-garde" has come to shape discussions of European culture and modernity, ubiquitously taken for granted but rarely defined. This ground-breaking book develops an original and searching methodology that fundamentally reconfigures the social, cultural, and visual context of the emergence of the artistic avant-garde in Paris and London before 1915, bringing the material history of its formation into clearer and more detailed focus than ever before. Drawing on a wealth of disciplinary evidence, from socio-economics to histor...
Landscape and Vision in Nineteenth-Century Britain and France
A study of the ways landscape was perceived in nineteenth-century Britain and France, this book draws on evidence from poetry, landscape gardens, spectacular public entertainments, novels and scientific works as well as paintings in order to develop its basic premise that landscape and the processes of perceiving it cannot be separated. Vision embraces panoramic seeing from high places, but also the seeing of ghosts and spectres when madness and hallucination impinge upon landscape. The rise of geology and the spread of empires upset the existing comfortable orders of comprehension of landscape. Reverie and imagination produced powerful interpretive actions, while landscape in French culture proved central to the rejection of conservative classicism in favour of perceptual questioning of experience. The experience of subjectivity proved central to the perception of landscape while the visual culture of landscape became of paramount importance to modernity during the period in question.
