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Author: Peter W. Parshall
Publisher: Lund Humphries Publishers Limited
ISBN:
Category : Architecture
Languages : en
Pages : 108
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Book Description
When does a work of art achieve aesthetic resolution? Artists, collectors, and theorists since the Renaissance have been intrigued by this question in their attempt to understand the artistic endeavour. Prints claim a special place in this history. The Unfinished Print investigates the changing taste for prints that reveal the traces of their making, a subject never before considered across its full historical sweep, from the fifteenth to the early twentieth century.An artist working on a print will usually take 'proof impressions' to check the progress of the plate, allowing us to trace the rethinking that attends the making of any work of art. Yet, unlike other media, proofs establish an exact record of discrete stages in the history of an image. Amplified by experiments with variant states and impressions, printmakers generated a creative interest in process and stages of completion, a phenomenon with complex implications for the history of art.Locating the issue of finish in printmaking within a broad intellectual and cultural context, this book examines the evolving concern with artistic process and aesthetic self-sufficiency in the work of Rembrandt, the rococo taste for proof states in the wake of Watteau, the fractured architectural visions of Piranesi, the romantic fascination with the artistic fragment, and the complex investigations of technical experiment that dominated printmaking in late-nineteenth century Paris.
Author: Peter W. Parshall
Publisher: Lund Humphries Publishers Limited
ISBN:
Category : Architecture
Languages : en
Pages : 108
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Book Description
When does a work of art achieve aesthetic resolution? Artists, collectors, and theorists since the Renaissance have been intrigued by this question in their attempt to understand the artistic endeavour. Prints claim a special place in this history. The Unfinished Print investigates the changing taste for prints that reveal the traces of their making, a subject never before considered across its full historical sweep, from the fifteenth to the early twentieth century.An artist working on a print will usually take 'proof impressions' to check the progress of the plate, allowing us to trace the rethinking that attends the making of any work of art. Yet, unlike other media, proofs establish an exact record of discrete stages in the history of an image. Amplified by experiments with variant states and impressions, printmakers generated a creative interest in process and stages of completion, a phenomenon with complex implications for the history of art.Locating the issue of finish in printmaking within a broad intellectual and cultural context, this book examines the evolving concern with artistic process and aesthetic self-sufficiency in the work of Rembrandt, the rococo taste for proof states in the wake of Watteau, the fractured architectural visions of Piranesi, the romantic fascination with the artistic fragment, and the complex investigations of technical experiment that dominated printmaking in late-nineteenth century Paris.
Author: Peter W. Parshall
Publisher:
ISBN:
Category : Art
Languages : en
Pages : 106
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Book Description
Author: Nico Van Hout
Publisher: Harry N. Abrams
ISBN: 9781419707513
Category : Art
Languages : en
Pages : 0
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Book Description
Travelling through the history of art from the 15th to the 20th century, this book is a survey of works of art by Old and Modern Masters including Van Eyck, Leonardo, Michelangelo, Rubens, David, Manet, Cézanne, Matisse and Mondrian that have remained deliberately or unintentionally unfinished, and that are usually marginalized in traditional art history. They remain incomplete for various reasons: illness or death of the artist; political turmoil forcing him to flee; disagreements with the commissioner or dissatisfaction with the artistic result. However, from the 16th century onwards, artists started to use the non finito as a tool of expression. Unfinished pictures therefore gained a certain reputation in the romantic era, when they were thought to offer the spectator a glimpse of artistic genius. In the 20th century, these paintings were discovered by cubists, expressionists and abstract painters who were fascinated by their rough and incoherent appearance, often unaware of their history.
Author: Kelly Baum
Publisher: Metropolitan Museum of Art
ISBN: 1588395863
Category : Art
Languages : en
Pages : 342
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Book Description
This groundbreaking book explores the evolving concept of unfinishedness as essential to understanding art movements from the Renaissance to the present day. Unfinished features more than 200 works, created in a variety of media, by artists ranging from Leonardo, Titian, Rembrandt, Turner, and Cézanne to Picasso, Warhol, Twombly, Freud, Richter, and Nauman. What unites these works, across centuries and media, is that each one displays some aspect of being unfinished. Essays and case studies by major contemporary scholars address this key concept from the perspective of both the creator and the viewer, probing the impact that this long artistic trajectory—which can be traced back to the first century—has had on modern and contemporary art. The book investigates the degrees to which instances of incompleteness were accidental or intentional experimental or conceptual. Also included are illuminating interviews with contemporary artists, including Tuymans, Celmins, and Marden, and parallel considerations of the unfinished in literature and film. The result is a multidisciplinary approach and thought-provoking analysis that provide valuable insight into the making, meaning, and critical reception of the unfinished in art.
Author: Mary Anne Staniszewski
Publisher: Steidl
ISBN: 9783958291973
Category : Art
Languages : en
Pages : 0
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Book Description
Exit Artis an intimate portrait of an institution that from 1982 to 2012 challenged social, political, aesthetic and curatorial norms. Committed to experimenting at the intersection of disciplines, publications and design, the gallery Exit Art remained steadfast in its mission to provide new possibilities and opportunities for artists, curators and viewers through its expansive historical shows, exhibitions of emerging and under-recognized artists, experimental theater and performance works, as well as national and international film and video programs. Artists who exhibited at Exit Art include Chakaia Booker, Jimmie Durham, Nicole Eisenman, Jane Hammond, David Hammons, Tehching Hsieh, Julie Mehretu, Shirin Neshat, Roxy Paine, Adrian Piper, Rirkrit Tiravanija, Fred Tomaselli, Cecilia Vicuña, Krzysztof Wodiczko, David Wojnarowicz and Martin Wong. "Something disruptive and transformative happened to art in New York in the early 1980s," writes Holland Cotter. "What exactly that something was has yet to be identified, but it involved a chemical reaction between a new political conservatism and a nascent multiculturalism ... One thing is certain: however the historical picture gets sorted out, Exit Art will figure into it." Conceived by Exit Art's founders, Papo Colo and the late Jeanette Ingberman, this volume is a resource on more than 200 exhibitions, events, festivals and programs featuring more than 2,500 artists, presented within the larger context of the art world. More than 70 eyewitness accounts and idiosyncratic recollections from artists, curators, critics and friends create a vivid sense of the exhibitions, performances, screenings, discussions, ideas and people that were part of Exit Art during its three-decade run.
Author: Joseph Maberly
Publisher:
ISBN:
Category : Engraving
Languages : en
Pages : 354
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Book Description
Author: United States. Department of the Treasury
Publisher:
ISBN:
Category : Customs administration
Languages : en
Pages : 1058
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Book Description
Vols. for 1904-1926 include also decisions of the United States Board of General Appraisers.
Author: Trish Loughran
Publisher: Columbia University Press
ISBN: 023151123X
Category : History
Languages : en
Pages : 569
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Book Description
"In the beginning, all the world was America." John Locke In the beginning, everything was America, but where did America begin? In many narratives of American nationalism (both popular and academic), the United States begins in print-with the production, dissemination, and consumption of major printed texts like Common Sense , the Declaration of Independence, newspaper debates over ratification, and the Constitution itself. In these narratives, print plays a central role in the emergence of American nationalism, as Americans become Americans through acts of reading that connect them to other like-minded nationals. In The Republic in Print, however, Trish Loughran overturns this master narrative of American origins and offers a radically new history of the early republic and its antebellum aftermath. Combining a materialist history of American nation building with an intellectual history of American federalism, Loughran challenges the idea that print culture created a sense of national connection among different parts of the early American union and instead reveals the early republic as a series of local and regional reading publics with distinct political and geographical identities. Focusing on the years between 1770 and 1870, Loughran develops two richly detailed and provocative arguments. First, she suggests that it was the relative lack of a national infrastructure (rather than the existence of a tightly connected print network) that actually enabled the nation to be imagined in 1776 and ratification to be secured in 1787-88. She then describes how the increasingly connected book market of the 1830s, 1840s, and 1850s unexpectedly exposed cracks in the evolving nation, especially in regards to slavery, exacerbating regional differences in ways that ultimately contributed to secession and civil war. Drawing on a range of literary, historical, and archival materials-from essays, pamphlets, novels, and plays, to engravings, paintings, statues, laws, and maps The Republic in Print provides a refreshingly original cultural history of the American nation-state over the course of its first century.
Author: David Landau
Publisher: Yale University Press
ISBN: 0300068832
Category : Art
Languages : en
Pages : 453
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Book Description
Through an examination of material and institutional circumstances, through the study of work shop practices and of technical and aesthetic experimentation, this book seeks to give an account of the ways in which Renaissance prints were realized, distributed, acquired, and handled by their public.
Author: Ruth E. Iskin
Publisher: Bloomsbury Publishing USA
ISBN: 1501338501
Category : Art
Languages : en
Pages : 308
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Book Description
Why did collectors seek out posters and collect ephemera during the late-nineteenth and the twentieth centuries? How have such materials been integrated into institutional collections today? What inspired collectors to build significant holdings of works from cultures other than their own? And what are the issues facing curators and collectors of digital ephemera today? These are among the questions tackled in this volume-the first to examine the practices of collecting prints, posters, and ephemera during the modern and contemporary periods. A wide range of case studies feature collections of printed materials from the United States, Latin America, France, Germany, Great Britain, China, Japan, Russia, Iran, and Cuba. Fourteen essays and one roundtable discussion, all specially commissioned from art historians, curators, and collectors for this volume, explore key issues such as the roles of class, politics, and gender, and address historical contexts, social roles, value, and national and transnational aspects of collecting practices. The global scope highlights cross-cultural connections and contributes to a new understanding of the place of prints, posters and ephemera within an increasingly international art world.
