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Degas
"More than any other artist in the Impressionist group, Degas was fascinated by ideas and consciously based his work on them. "What I do is the result of reflection and study of the great masters," he once confessed, "of inspiration, spontaneity, temperament I know nothing." Yet his work has been understood very inadequately from that point of view. Publications on him, once dominated by memoirs inspired by his remarkable personality, are now concerned with cataloguing and studying limited aspects of his complex art. Its intellectual power and originality, which were evident to contemporary writers like Duranty and Valery, have not been studied sufficiently by more recent critics. It is this...
Manet, Olympia
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What is Dance?
A wide variety of writing is included in this anthology, from the practical criticism of Arlene Croce and David Denby to the more scholarly work of Rudoloph Arnheim, Suzanne Langer, and Havelock Ellis. The collection is divided into seven sections: What is Dance?; the Dance Medium; Dance andthe Other Arts; Genre and Style; Language, Notation, and Identity; Dance Criticism; and Dance and Society.
Sexuality and Gender in Early Modern Europe
An exploration of sexuality and gender in Renaissance art, literature, and society.
Postmodern Culture
In all the arts a war is being waged between modernists and postmodernists. Radicals have tended to side with the modernists against the forces of conservatism. Postmodern Culture is a break with this tendency. Its contributors propose a postmodernism of resistance - an aesthetic that rejects hierarchy and celebrates diversity. Ranging from architecture, sculpture and painting to music, photography and film, this collection is now recognised as a seminal text on the postmodernism debate.The essays are by Hal Foster, Jürgen Habermas, Kenneth Frampton, Rosalind Krauss, Douglas Crimp, Craig Owens, Gregory L. Ulmer, Fredric Jameson, Jean Baudrillard, and Edward W. Said.
Mapping Degas
The New Art History and the Impressionist canon seem to have successfully claimed Edgar Degas as a misogynist, rabid nationalist and misanthrope whose art was both masterly and experimental. By analysing Degas’s approach to space and his self-fashioning attitude towards identity within the ambiguities of the political and artistic culture of nineteenth-century France, this book questions the characterisation of Degas as a right-wing Frenchman and artist, and will change the way in which Degas is thought about today.
Impressionism
Defining an artistic era or movement is often a difficult task, as one tries to group individualistic expressions and artwork under one broad brush. Such is the case with impressionism, which culls together the art of a multitude of painters in the mid-19th century, including Monet, Cézanne, Renoir, Degas, and van Gogh. Basically, impressionism involved the shedding of traditional painting methods. The subjects of art were taken from everyday life, as opposed to the pages of mythology and history. In addition, each artist painted to express feelings of the moment instead of hewing to time-honoured standards. This description of impressionism, obviously, is quite broad and can apply to a wid...
Barcelona and Modernity
Catalogus van een tentoonstelling van werk van Catalaanse kunstenaars.
