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Books > Arts & Architecture > Art forms, treatments & subjects > Art treatments & subjects > Iconography, subjects depicted in art > Human figures depicted in art > General
Alexander the Great changed the face of the ancient world. During
his life and after his death, his image in works of art exerted an
unprecedented influence-on marbles, bronzes, ivories, frescoes,
mosaics, coins, medals, even painted pottery and reliefware.
Alexander's physiognomy became the most famous in history. But can
we really know what meaning lies behind these images?
Andrew Stewart demonstrates that these portraits--wildly divergent
in character, quality, type, provenance, date, and
purpose--actually transmit not so much a "likeness" of Alexander as
a set of carefully crafted cliches that mobilize the "notion"
"Alexander" for diverse ends and diverse audiences. Stewart
discusses the portraits as studies in power and his original
interpretation of them gives unprecedented fullness and shape to
the idea and image called "Alexander."
This engaging publication examines the prodigious body of work of
American sculptor Manuel Neri (b. 1930) through the unique
perspective of one of Neri's former students. A near-contemporary
of other notable California-based artists Richard Diebenkorn and
Wayne Thiebaud, Neri is best known for his large-scale figurative
sculptures that combine classical figuration with the dynamic
mark-making of Abstract Expressionism. The book traces the
compelling yet often contradictory thematic arcs of Neri's powerful
work and his greater impact on the field of sculpture. At the heart
of the publication are Jock Reynolds's personal reflections on Neri
and his legacy as a teacher, adding insight and intimacy to the
scholarly understanding of the artist. Photographs of Neri in his
studio, archival images, and installation photos of the related
exhibition at the Yale University Art Gallery round out the book.
With its blend of art history and personal reflection, this unique
book offers valuable insight into an important, understudied
California artist. Distributed for the Yale University Art Gallery
Exhibition Schedule: Yale University Art Gallery
(03/02/18-07/08/18)
Latin Blackness in Parisian Visual Culture, 1852-1932 examines an
understudied visual language used to portray Latin Americans in
mid-19th to early 20th-century Parisian popular visual media. The
term 'Latinize' is introduced to connect France's early
19th-century endeavors to create "Latin America," an expansion of
the French empire into the Latin-language based Spanish and
Portuguese Americas, to its perception of this population.
Latin-American elites traveler to Paris in the 1840s from their
newly independent nations were denigrated in representations rather
than depicted as equals in a developing global economy. Darkened
skin, etched onto images of Latin Americans of European descent
mitigated their ability to claim the privileges of their ancestral
heritage. Whitened skin, among other codes, imposed on
turn-of-the-20th-century Black Latin Americans in Paris tempered
their Blackness and rendered them relatively assimilatable compared
to colonial Africans, Blacks from the Caribbean, and African
Americans. After identifying mid-to-late 19th-century Latinizing
codes, the study focuses on shifts in latinizing visuality between
1890-1933 in three case studies: the depictions of popular Cuban
circus entertainer Chocolat; representations of Panamanian World
Bantamweight Champion boxer Alfonso Teofilo Brown; and paintings of
Black Uruguayans executed by Pedro Figari, a Uruguayan artist,
during his residence in Paris between 1925-1933.
Perspectives on Humanity in the Fine Arts introduces students to
the fine arts as expressions and reflections of the human
condition. After introducing readers to the elements of each art
form, the book explores specific historical periods and
geographical areas and presents their arts to help readers better
understand their living conditions, religion, philosophy,
aspirations, failures, politics, and views on love and war. Through
studying a diverse group of arts-including visual art, music,
dramatic art, and dance-within a specific geographical and
historical context, students experience each culture as a
contemporary participant might. Areas covered include prehistory,
the ancient Near East and Egypt, classical Greece and Rome, the
Byzantine Empire, Romanesque, Gothic, Renaissance, baroque,
neoclassical, romantic and twentieth-century art forms, and others.
The second edition features vocabulary lists at the end of each
chapter, many new images, and fresh content throughout, including
new material on Ancient Egyptian landscape gardening; Roman
architecture; Byzantine artwork; Rococo art; neoclassic art and
landscaping; romanticism in the arts; and realism. Perspectives on
Humanity in the Fine Arts is intended for survey courses that cover
the fine arts for non-majors.
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