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Making Art History
Making Art History is a collection of essays by contemporary scholars on the practice and theory of art history as it responds to institutions as diverse as art galleries and museums, publishing houses and universities, school boards and professional organizations, political parties and multinational corporations. The text is split into four thematic sections, each of which begins with a short introduction from the editor, the sections include: Border Patrols, addresses the artistic canon and its relationship to the ongoing 'war on terror', globalization, and the rise of the Belgian nationalist party. The Subjects of Art History, questions whether 'art' and 'history' are really what the discipline seeks to understand. Instituting Art History, concerns art history and its relation to the university and raises questions about the mission, habits, ethics and limits of university today. Old Master, New Institutions, shows how art history and the museum respond to nationalism, corporate management models and the 'culture wars'.
History of Modern Art
Since it first appeared in 1968, History of Modern Art has emphasized the unique formal properties of artworks, and the book has long been recognized for the acuity of its visual analysis.
Too Beautiful to Picture
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 con...
The Fifth Kiss
Award-winning author Elizabeth Mansfield presents the captivating tale of a fiercely independent woman who learns a shocking secret that leads to a startling lesson in love Olivia Matthews may be unversed in the ways of love, but her eyes don’t deceive her. Her sister’s husband, Miles Strickland, seventh Earl of Langley, is a scoundrel. Olivia just caught him in the arms of another woman. When she dares to confront him, the blackguard has the gall to accuse her of blackmail. Determined to expose his unfaithfulness, Olivia leaves London to visit her sister in the English countryside, where her world is overturned. Suddenly she is trying to rein in her rambunctious niece and nephew, fending off the amorous attentions of two suitors . . . and falling in love with the very nobleman she had vowed to hate forever.
Larry at Number 10
Awesome (some might say paw-some) Larry is Top Cat at Number 10 - that is until his boss, the Prime Minister, gets a dog called Dilyn. If you can even call this ridiculous puppy a dog. For one thing, he chases his own tail, guzzles sausage-strings and chews things to pieces. How paw-thetic! For another, Larry is chief mouser at Number 10, head of paw-trolling and champion window-ledge sitting (note: this is for lookout purposes, NOT catnapping). Larry is important and the hero of the mouse catching scoreboard. So what possible job can dopey Dilyn do? His whiskers out of joint, Larry tries (and fails) to put Dilyn in the doghouse - but then catastrophe strikes as a cat-burglar breaks in and cat-napps Larry! Can Dilyn rise to the occasion and save the day? And if he does, will Larry give his a-paw-logies? Based on the real cat and dog team living at Number 10, this charming picture book is a treat to read for any child aged 0 - 5 - and their parents, too!
Elizabeth and Her German Garden
May 16th.-The garden is the place I go to for refuge and shelter, not the house. In the house are duties and annoyances, servants to exhort and admonish, furniture, and meals; but out there blessings crowd round me at every step-it is there that I am sorry for the unkindness in me, for those selfish thoughts that are so much worse than they feel; it is there that all my sins and silliness are forgiven, there that I feel protected and at home, and every flower and weed is a friend and every tree a lover. -from Elizabeth and Her German Garden First published anonymously in 1898, this beautiful chronicle of languid days spent in a rejuvenating Italian garden was a tremendous bestseller at the t...
The Power of Color
This beautifully illustrated volume explores the history of color across five centuries of European painting, unfolding layers of artistic, cultural, and political meaning through a deep understanding of technique.
Seeing Satire in the Eighteenth Century
A moment in history when verbal satire, caricature, and comic performance exerted unprecedented influence on society, the Enlightenment sustained a complex, though now practically invisible, culture of visual humor. In Seeing satire in the eighteenth century contributors recapture the unique energy of comic images in the works of key artists and authors whose satirical intentions have been obscured by time. From a decoding of Charles-Germain de Saint-Aubin's Livre de caricatures as a titillating jibe at royal and courtly figures, a reinterpretation of the man's muff as an emblem of foreignness, foppishness and impotence, a reappraisal of F. X. Messerschmidt's sculpted heads as comic critique...
Art History and Its Institutions
"What is art history? The answer depends on who asks the question. Museum staff, academics, art critics, collectors, dealers and artists themselves all stake competing claims to the aims, methods, and history of art history. Dependent on and sustained by different - and often competing - institutions, art history remains a multi-faceted field of study. Art History and Its Institutions focuses on the professional and institutional formation of art history, showing how the discourses that shaped its creation continue to define the field today. Grouped into three sections, articles examine the sites where art history is taught and studied, the role of institutions in conferring legitimacy, the relationship between modernism and art history, and the systems that define and control it. From museums and universities to law courts and photography studios, the contributors explore a range of different institutions, revealing the complexity of their interaction and their impact on the discipline of art history." --BOOK JACKET.
