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Author: Karen L. Kleinfelder
Publisher: University of Chicago Press
ISBN: 9780226439839
Category : Art
Languages : en
Pages : 294
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Book Description
Although Pablo Picasso's name is virtually synonymous with modernity, his late graphics repeatedly turn back to the traditional theme of the artist and model. Had the aging artist turned reactionary, or is Picasso's treatment of the theme more subversive than anyone has suspected? In this innovative study, Karen L. Kleinfelder rejects the claim that Picasso's later work was a failure. The failing, she claims, lies more in the way we typically have read the images, treating them merely as reflections of an "old-age" style or of the artist's private life. Focusing on graphics dating from 1954 to 1970, Kleinfelder shows how Picasso plays with the artist-model theme to extend, subvert, and parody both the possibilities and limits of representation. For Kleinfelder, Picasso's graphic work both mystifies and demystifies the creative process, venerates and mocks the effects of aging and the artist's self-image as a living "old master," and acknowledges and denies his own fear of death. Using recent interpretive and literary theory, Kleinfelder probes the three-way relationship between artist, model, and canvas. The dynamics of this relationship provided Picasso with an open-ended textual framework for exploring the dichotomies of man/woman, self/other, and vitality/mortality. What unfolds is the artist's struggle not only with the impossibility of representing the model on canvas, but also with the inevitability of his own death. Kleinfelder explores how Picasso's means of pursuing these issues allows him to defer closure on a long, productive career. By focusing on the graphics rather than the paintings, Kleinfelder contradicts the primacy of the painted "masterpiece"; she steers the reader away from the assumption that the artist must work toward creating a final body of work that signifies the culmination of his search for a coherent identify. Picasso's search, she argues, realizes itself in the creative process. She interprets the late graphics not as a biographical statement but as a tool for investigating the possibilities of representation within the limits of Picasso's medium and his lifetime. Richly illustrated, Kleinfelder's book will open up new approaches to the late work of this complex artist.
Author: Karen L. Kleinfelder
Publisher: University of Chicago Press
ISBN: 9780226439839
Category : Art
Languages : en
Pages : 294
Get Book Here
Book Description
Although Pablo Picasso's name is virtually synonymous with modernity, his late graphics repeatedly turn back to the traditional theme of the artist and model. Had the aging artist turned reactionary, or is Picasso's treatment of the theme more subversive than anyone has suspected? In this innovative study, Karen L. Kleinfelder rejects the claim that Picasso's later work was a failure. The failing, she claims, lies more in the way we typically have read the images, treating them merely as reflections of an "old-age" style or of the artist's private life. Focusing on graphics dating from 1954 to 1970, Kleinfelder shows how Picasso plays with the artist-model theme to extend, subvert, and parody both the possibilities and limits of representation. For Kleinfelder, Picasso's graphic work both mystifies and demystifies the creative process, venerates and mocks the effects of aging and the artist's self-image as a living "old master," and acknowledges and denies his own fear of death. Using recent interpretive and literary theory, Kleinfelder probes the three-way relationship between artist, model, and canvas. The dynamics of this relationship provided Picasso with an open-ended textual framework for exploring the dichotomies of man/woman, self/other, and vitality/mortality. What unfolds is the artist's struggle not only with the impossibility of representing the model on canvas, but also with the inevitability of his own death. Kleinfelder explores how Picasso's means of pursuing these issues allows him to defer closure on a long, productive career. By focusing on the graphics rather than the paintings, Kleinfelder contradicts the primacy of the painted "masterpiece"; she steers the reader away from the assumption that the artist must work toward creating a final body of work that signifies the culmination of his search for a coherent identify. Picasso's search, she argues, realizes itself in the creative process. She interprets the late graphics not as a biographical statement but as a tool for investigating the possibilities of representation within the limits of Picasso's medium and his lifetime. Richly illustrated, Kleinfelder's book will open up new approaches to the late work of this complex artist.
Author: Jill Berk Jiminez
Publisher: Routledge
ISBN: 1135959145
Category : Social Science
Languages : en
Pages : 625
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Book Description
The first reference work devoted to their lives and roles, this book provides information on some 200 artists' models from the Renaissance to the present day. Most entries are illustrated and consist of a brief biography, selected works in which the model appears (with location), a list of further reading. This will prove an invaluable reference work for art historians, librarians, museum and gallery curators, as well as students and researchers.
Author: Claire Davison
Publisher: Edinburgh University Press
ISBN: 1474441890
Category : Literary Criticism
Languages : en
Pages : 264
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Book Description
Explores modernist aesthetics and cultural exchange in Britain, France and beyond Offers cutting-edge explorations of different aspects of artistic exchange between Britain and France, written by experts on both sides of the ChannelProvides original close readings of canonical and marginalised modernist textsOpens up new conceptual paradigms by probing multiple meanings related to 'crossing' and 'channelling' modernismOrganises chapters around three key themes of 'translating', 'fashioning', 'mediating' that intervene in the new modernist studiesDescribed by Katherine Mansfield in 1921 as 'a great cold sword between you and your dear love Adventure', in the early twentieth century the English Channel, or 'La Manche' in French, represented both a political and intellectual barrier between European avant-gardism and British restraint, and a bridge for cultural connection and aesthetic innovation. Organised around key terms 'Translating', 'Fashioning' and 'Mediating', this book presents ten original essays by scholars working on both sides of the Channel. Cross-Channel Modernisms historicises artistic exchangesa ina Britain, France and beyond and proposes a rich conceptual apparatus of 'crossings' and 'channels' through which we can read modernism and understand it as emerging from, and intervening in, an always-already shifting, multivalent,a internationala context.
Author: Elizabeth Mansfield
Publisher: U of Minnesota Press
ISBN: 1452909164
Category :
Languages : en
Pages : 257
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Book Description
Few tales of artistic triumph can rival the story of Zeuxis. As first reported by Cicero and Pliny, the painter Zeuxis set out to portray Helen of Troy, but when he realized that a single model could not match Helen’s beauty, he combined the best features of five different models. A primer on mimesis in art making, the Zeuxis myth also illustrates ambivalence about the ability to rely on nature as a model for ideal form. In Too Beautiful to Picture, Elizabeth C. Mansfield engages the visual arts, literature, and performance to examine the desire to make the ideal visible. She finds in the Zeuxis myth evidence of a cultural primal scene that manifests itself in gendered terms. Mansfield considers the many depictions of the legend during the Renaissance and questions its absence during the eighteenth century. Offering interpretations of Angelica Kauffman’s paintings, Mary Shelley’s Frankenstein, and Picasso’s Les Demoiselles d’Avignon, Mansfield also considers Orlan’s carnal art as a profound retelling of the myth. Throughout, Mansfield asserts that the Zeuxis legend encodes an unconscious record of the West’s reliance on mimetic representation as a vehicle for metaphysical solace. Elizabeth C. Mansfield is associate professor of art history at the University of the South.
Author: Rachel Esner
Publisher: Springer
ISBN: 3319662309
Category : Social Science
Languages : en
Pages : 279
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Book Description
This book offers trans-historical and trans-national perspectives on the image of “the artist” as a public figure in the popular discourse and imagination. Since the rise of notions of artistic autonomy and the simultaneous demise of old systems of patronage from the late eighteenth century onwards, artists have increasingly found themselves confronted with the necessity of developing a public persona. In the same period, new audiences for art discovered their fascination for the life and work of the artist. The rise of new media such as the illustrated press, photography and film meant that the needs of both parties could easily be satisfied in both words and images. Thanks to these “new” media, the artist was transformed from a simple producer of works of art into a public figure. The aim of this volume is to reflect on this transformative process, and to study the specific role of the media themselves. Which visual media were deployed, to what effect, and with what kind of audiences in mind? How did the artist, critic, photographer and filmmaker interact in the creation of these representations of the artist’s image?
Author: Catha Paquette
Publisher: Bloomsbury Publishing USA
ISBN: 1501358707
Category : Art
Languages : en
Pages : 385
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Book Description
In and Out of View models an expansion in how censorship is discursively framed. Contributors from diverse backgrounds, including artists, art historians, museum specialists, and students, address controversial instances of art production and reception from the mid-20th century to the present in the Americas, Africa, Asia, Europe, and the Middle East. Their essays, interviews, and statements invite consideration of the shifting contexts, values, and needs through which artwork moves in and out of view. At issue are governmental restrictions and discursive effects, including erasure and distortion resulting from institutional policies, canonical processes, and interpretive methods. Crucial considerations concerning death/violence, authoritarianism, (neo)colonialism, global capitalism, labor, immigration, race, religion, sexuality, activism/social justice, disability, campus speech, and cultural destruction are highlighted. The anthology-a thought-provoking resource for students and scholars in art history, museum and cultural studies, and creative practices-represents a timely and significant contribution to the literature on censorship.
Author: Lesley D. Clement
Publisher: McGill-Queen's Press - MQUP
ISBN: 0773568352
Category : Fiction
Languages : en
Pages : 306
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Book Description
In Learning to Look Lesley Clement traces the evolution of Mavis Gallant's visually evocative style through five decades of her short fictional works. From her earliest explorations of displacement and the disparity between perception and reality, through her later explorations of memory and history, to her more recent explorations of the role of culture in a contemporary world where commercialism and madness threaten to extinguish the potential for illumination and enlightenment, Gallant envisages and renders her fictional world with the techniques analogous to those of visual artists. Clement shows us that Gallant's fiction of the 1940s and 1950s exhibits a keen interest in perspective and proportion achieved through concentration on line, that her fiction of the 1960s and early 1970s reveals a heightened interest in composition achieved through a focus on framing, proportion, and form or shape, and that her fiction after the mid 1970s demonstrates the full realization of her art through attention to colour and light. Gallant increasingly explores the boundaries between visible and invisible worlds as the lines, shapes, and colours suggested by her allusions, analogies, and structures give her fiction the perspective, proportion, density, and fluidity that illuminate the printed page and challenge us as readers. Alert to visual cues in Gallant's fiction we acquire a heightened perception of the manifold richness of worlds and lives that might otherwise have been relegated to the unseen and unsung.
Author: Norman E. Land
Publisher: McFarland
ISBN: 1476683956
Category : Art
Languages : en
Pages : 206
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Book Description
The 4th century BC Greek painter Parrhasius murdered his model--an old man who was his slave--to achieve, so the story goes, a more lifelike depiction of nature. The tale has inspired similar, more elaborate stories about both well known and obscure artists--including Leonardo da Vinci, Michelangelo and Rubens. Elements of the tale have appeared in theater, literature and film, as well as in comments by painters, historians, critics and anatomists. Challenging the archetype of the artist as a sympathetic lover of nature, this book examines the artist as cruel and murderous in service of art and ambition, and indirectly addresses a different understanding of the relationship between art and life.
Author: Steven L. Davis
Publisher: Cambridge Scholars Publishing
ISBN: 1443824534
Category : Social Science
Languages : en
Pages : 267
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Book Description
White, heterosexual, middle-class men have long served as the standard for masculine “beauty,” even if such men have refused to embrace this term. This study seeks to denaturalize this standard by exploring the connections between beauty and the broad spectrum of masculinities. The chapters included in Hunks, Hotties, and Pretty Boys contribute primarily to the field of gender studies, specifically masculinity studies. They consider twentieth-century representations of male beauty through a variety of mediums: performance, literature, art, photography, film and television. Although the contributors hail from both the humanities and the social sciences, all share a concern for how beauty informs, shapes, defines, and re-defines our understanding of masculinity itself. These scholars investigate a range of historical periods and draw from a broad scope of critical approaches. Some interrogate male beauty through the female gaze and look to the influence of female performance on notions of masculine beauty. Others examine how queer and racial constructions of male beauty refuse and offer alternatives to hegemonic models of identity. Another revisits previous philosophical and theoretical conceptions of beauty, only to deconstruct gendered conceptions of the beautiful and the sublime. In all, these essays complicate masculine beauty by examining Chicano, Asian, working class, and female constructions of male beauty in Western culture.
Author: Catherine Roach
Publisher: Routledge
ISBN: 1351554204
Category : Art
Languages : en
Pages : 277
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Book Description
Repainting the work of another into one?s own canvas is a deliberate and often highly fraught act of reuse. This book examines the creation, display, and reception of such images. Artists working in nineteenth-century London were in a peculiar position: based in an imperial metropole, yet undervalued by their competitors in continental Europe. Many claimed that Britain had yet to produce a viable national school of art. Using pictures-within-pictures, British painters challenged these claims and asserted their role in an ongoing visual tradition. By transforming pre-existing works of art, they also asserted their own painterly abilities. Recognizing these statements provided viewers with pleasure, in the form of a witty visual puzzle solved, and with prestige, in the form of cultural knowledge demonstrated. At stake for both artist and audience in such exchanges was status: the status of the painter relative to other artists, and the status of the viewer relative to other audience members. By considering these issues, this book demonstrates a new approach to images of historic displays. Through examinations of works by J.M.W. Turner, John Everett Millais, John Scarlett Davis, Emma Brownlow King, and William Powell Frith, this book reveals how these small passages of paint conveyed both personal and national meanings.
