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A Companion to Impressionism
A Companion to Impressionism Presenting an expansive view of the study of Impressionism, this pioneering volume breaks new thematic ground while also reconsidering questions concerning the definition, chronology, and membership of the impressionist movement. In 34 original essays from established and emerging scholars, this collection offers a diverse range of developing topics and new critical approaches to the interpretation of impressionist art. Focusing on the 1860s to 1890s, A Companion to Impressionism explores artists who are well-represented in impressionist studies, including Monet, Renoir, Degas, and Cassatt, as well as Morisot, Caillebotte, Bazille, and other significant yet les...
The Cultures of Entanglement
The symbolic meaning of plants, their relevance to religion and the metaphorical provocations in the order of knowledge, culture and political power underline the role of plants as something more than passive objects. Current theoretical and artistic discourses have been seeking access to the world independently of man by focusing on the nonhuman other. The contributors to this volume examine the historical, philosophical and scientific findings that generate this idea. In what way are such perspectives manifest in contemporary art? Do artists develop a particular approach that enables nonhuman life forms like plants, insects or animals to have an impact?
Parallel Presents
Outgrowth of the author's thesis (doctoral--University of Melbourne, Australia).
The Dada Painters and Poets
Presents a collection of essays, manifestos, and illustrations that provide an overview of the Dada movement in art, describing its convictions, antics, and spirit, through the words and art of its principal practitioners.
Great Drawings of All Time: Oriental, Spanish, English, American and contemporary
Drawings in pencil, pen, charcoal, sepia, wash, watercolor, chalk and crayon, the work of 442 artists culled from 174 collections.
What Great Paintings Say
These are the kinds of question Rose-Marie and Rainer Hagen ask when faced with world-famous masterpieces. In the language of today they comment on the fashions and attitudes, trends and intrigues, love, vice and lifestyles of past times. Book jacket.
The Wrightsman Pictures
This lavish catalogue presents 150 European paintings, pastels, and drawings from the late fifteenth to the mid-nineteenth century that have been given to the Metropolitan Museum by Mr. and Mrs. Charles Wrightsman or are still held in Mrs. Wrightsman's private collection. These notable works were collected over the past four decades, many of them with the Museum in mind; some were purchased by the Museum through the Wrightsman Fund. Highlights of the book include masterpieces by Vermeer, El Greco, Rubens, Van Dyck, Georges de La Tour, Jacques-Louis David, and Caspar David Friedrich as well as numerous paintings by the eighteenth-century Venetian artists Canaletto, Guardi, and the Tiepolos, father and son, plus a dozen remarkable portrait drawings by Ingres. Each work is reproduced in color and is accompanied by a short essay.
Aesthetics and Its Discontents
Only yesterday aesthetics stood accused of concealing cultural games of social distinction. Now it is considered a parasitic discourse from which artistic practices must be freed. But aesthetics is not a discourse. It is an historical regime of the identification of art. This regime is paradoxical, because it founds the autonomy of art only at the price of suppressing the boundaries separating its practices and its objects from those of everyday life and of making free aesthetic play into the promise of a new revolution. Aesthetics is not a politics by accident but in essence. But this politics operates in the unresolved tension between two opposed forms of politics: the first consists in transforming art into forms of collective life, the second in preserving from all forms of militant or commercial compromise the autonomy that makes it a promise of emancipation. This constitutive tension sheds light on the paradoxes and transformations of critical art. It also makes it possible to understand why today's calls to free art from aesthetics are misguided and lead to a smothering of both aesthetics and politics in ethics.
