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Historical Painting Techniques, Materials, and Studio Practice by Arie Wallert,Erma Hermens,Marja Peek Pdf
Bridging the fields of conservation, art history, and museum curating, this volume contains the principal papers from an international symposium titled "Historical Painting Techniques, Materials, and Studio Practice" at the University of Leiden in Amsterdam, Netherlands, from June 26 to 29, 1995. The symposium—designed for art historians, conservators, conservation scientists, and museum curators worldwide—was organized by the Department of Art History at the University of Leiden and the Art History Department of the Central Research Laboratory for Objects of Art and Science in Amsterdam. Twenty-five contributors representing museums and conservation institutions throughout the world provide recent research on historical painting techniques, including wall painting and polychrome sculpture. Topics cover the latest art historical research and scientific analyses of original techniques and materials, as well as historical sources, such as medieval treatises and descriptions of painting techniques in historical literature. Chapters include the painting methods of Rembrandt and Vermeer, Dutch 17th-century landscape painting, wall paintings in English churches, Chinese paintings on paper and canvas, and Tibetan thangkas. Color plates and black-and-white photographs illustrate works from the Middle Ages to the 20th century.
Introduction to Art: Design, Context, and Meaning by Pamela Sachant,Peggy Blood,Jeffery LeMieux,Rita Tekippe Pdf
Introduction to Art: Design, Context, and Meaning offers a deep insight and comprehension of the world of Art. Contents: What is Art? The Structure of Art Significance of Materials Used in Art Describing Art - Formal Analysis, Types, and Styles of Art Meaning in Art - Socio-Cultural Contexts, Symbolism, and Iconography Connecting Art to Our Lives Form in Architecture Art and Identity Art and Power Art and Ritual Life - Symbolism of Space and Ritual Objects, Mortality, and Immortality Art and Ethics
Author : David Green,Peter Seddon Publisher : Manchester University Press Page : 178 pages File Size : 46,8 Mb Release : 2000 Category : History in art ISBN : 0719051681
Writing in "Before the Image, Before Time: The Sovereignty of Anachronism," (2003) Georges Didi-Huberman identifies three discrete temporalities at work within a fresco painted by Fra Angelico for the San Marco convent in Florence during the 1440s. In the first instance, he observes that the painting's trompe l'oeil frame stems from what would have been the prevalent mimetic style during the period within which the fresco was painted and in this respect, is "euchronistic" or of its time. However, the fresco also betrays "anachronistic" qualities through its so-called "mnemonic" use of colour. Finally, and as Didi-Huberman notes, "the dissimilitudo, the dissemblance at work in this pointed surface goes back even further." Evidently then, both the production and subsequent interpretation of painting entails if not is foregrounded by multiple layers of chronology, tense and time. Such an admission is coincident with both a renewed interest in painting's relationship to its past and more broadly art's relationship with time. According to Laura Hoptman, writing in the exhibition catalogue that accompanied The Forever Now: Contemporary Painting in an Atemporal World at MoMA in 2015, "what attracts artists to painting at a time when digital technology offers seemingly limitless options with less art-historical baggage is precisely its art historical baggage..." Moreover, in Visual Time: The Image in History, Keith Moxey has recently asked "where and when is the time in the history of art?" Against a backdrop of artistic practices that are characteristic of the so-called "historiographic turn," an approach to art making that has encompassed strategies of excavation, re-enactment and memorialization but as such have notably been to the exclusion of painting, Sites of Time: Painting, History and Meaning seeks to examine painting's relationship with time and with events, ideas and paintings derived from the past. Following Jean-Francois Lyotard's determination of painting as entailing a series of temporal sites, the proposed study will examine key works by artists including Luc Tuymans, Gerald Byrne, Alison Watt, Marlene Dumas, Genieve Figgis, Wang Xingwei and Dexter Dalwood. Necessarily moving beyond the appropriationist strategies of postmodernism with its proclivity to quote from and tendentiously juxtapose elements that were historically or culturally remote, what the proposed study will evince is that through its engagement with history and historical materials, time as it is given within the context of contemporary painting is multi-directional, heterogeneous and resoundingly non-linear.
How do we see the world around us? The Penguin on Design series includes the works of creative thinkers whose writings on art, design and the media have changed our vision forever. "Seeing comes before words. The child looks and recognizes before it can speak." "But there is also another sense in which seeing comes before words. It is seeing which establishes our place in the surrounding world; we explain that world with words, but word can never undo the fact that we are surrounded by it. The relation between what we see and what we know is never settled." John Berger's Ways of Seeing is one of the most stimulating and influential books on art in any language. First published in 1972, it was based on the BBC television series about which the (London) Sunday Times critic commented: "This is an eye-opener in more ways than one: by concentrating on how we look at paintings . . . he will almost certainly change the way you look at pictures." By now he has.
Art History: A Very Short Introduction by Dana Arnold Pdf
This clear and concise new introduction examines all the major debates and issues using a wide range of well-known examples. It discusses the challenge of using verbal and written language to analyse a visual form. Dana Arnold also examines the many different ways of writing about art, and the changing boundaries of the subject of art history. Topics covered include the canon of Art History, the role of the gallery, 'blockbuster' exhibitions, the emergence of social histories of art (Feminist Art History or Queer Art History, for example), the impact of photography, and the development of Art History using artefacts such as the altarpiece, the portrait, or pornography, to explore social and cultural issues such as consumption, taste, religion, and politics. Importantly, this book explains how the traditional emphasis on periods and styles originates in western art production and can obscure other critical approaches, as well as art from non western cultures. ABOUT THE SERIES: The Very Short Introductions series from Oxford University Press contains hundreds of titles in almost every subject area. These pocket-sized books are the perfect way to get ahead in a new subject quickly. Our expert authors combine facts, analysis, perspective, new ideas, and enthusiasm to make interesting and challenging topics highly readable.
Principles of Art History Writing by David Carrier Pdf
"Principles of Art History Writing traces the changes in the way in which writers about art represent the same works. These differ in such deep ways as to raise the question of whether those at the beginning of the process even saw the same things as those at the end did. Carrier uses four case studies to identify and explain changing styles of restoration and the history of interpretation of selected works by Piero, Caravaggio, and van Eyck." -- Back cover
According to Didi-Huberman, visual representation has an "underside" in which intelligible forms lose clarity and defy rational understanding. Art historians, he contends, fail to engage this underside, and he suggests that art historians look to Freud's concept of the "dreamwork", a mobile process that often involves substitution and contradiction.
In this beautifully written book, Drury, an Anglican priest and theologian, looks at religious paintings through the ages and presents them in a fresh way--as works filled with passion, stories, and meaning. 100 illustrations, 70 in color.
The Language of Art History by Salim Kemal,Ivan Gaskell Pdf
The first volume in the series Cambridge Studies in Philosophy and the Arts offers a range of responses by distinguished philosophers and art historians to some crucial issues generated by the relationship between the art object and language in art history. Each of the chapters in this volume is a searching response to theoretical and practical questions in terms accessible to readers of all human science disciplines. The editors, one a philosopher and one an art historian, provide an introductory chapter which outlines the themes of the volume and explicates the terms in which they are discussed. The contributors open new avenues of enquiry involving concepts of 'presence', 'projective properties', visual conventions and syntax, and the appropriateness of figurative language in accounting for visual art. The issues they discuss will challenge the boundaries to thought that some contemporary theorising sustains.
Recent restoration campaigns, particularly to the Sistine Chapel, have focused attention on the importance of colour in our experience of paintings, but until recently it has been neglected by art historians. The author believes that the work of art can only be fully appreciated when it is regarded as the product of both the artist's hand and mind. This study utilizes the traditional sources, such as contemporary theoretical writings and iconographical analysis, but in addition draws on the scientific findings of the conservation laboratories. This is a new body of data assembled in large part since World War II, which art historians are only beginning to exploit to fill out the history of technique. Rather than writing merely a history of technique, however, the author has integrated this material with traditional approaches to cultural history. She undertakes to examine twenty major paintings of the period from Giotto to Tintoretto to elucidate how colour and technique contribute to their meaning. She gives us then, the first modern consideration of Renaissance paintings both as physical objects and as monuments of cultural history.