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Books > Arts & Architecture > Art forms, treatments & subjects > Art treatments & subjects > Iconography, subjects depicted in art > Human figures depicted in art
A fresh take on a beloved masterpiece of portraiture, focusing on
the complex significance of the color pink in eighteenth-century
France Francois Boucher's 1750 half-length portrait of Madame de
Pompadour-influential court figure and mistress to King Louis
XV-has been the subject of much art historical attention,
particularly with regard to gender and representation. Building on
that foundation, this volume turns toward an underappreciated
aspect of the portrait: the use and significance of the color pink.
Four scholarly essays, including one by noted Boucher expert Mark
Ledbury, establish a framework that connects Pompadour's fondness
and promotion of the color, Boucher's artistic association with the
color, and developments in the material basis of the color,
including its application in other media such as porcelain. This
engaging close look offers new ways to understand the portrait,
revealing its links to motherhood and sentiment, race and the
transatlantic slave trade, and the crosscurrents of natural history
and scientific discovery. Distributed for the Harvard Art Museums
Philip Alexius de Laszlo (1869-1937) was one of the most important
portraitists of the early 20th century. Born in Hungary, he was
trained in Munich and Paris and was soon receiving commissions from
noble and royal families throughout Europe. Having married Lucy
Guinness in 1900, in 1907 he moved from Vienna to England, where he
had enormous success. Far less known are the wonderful portraits de
Laszlo painted in the Netherlands over more than 30 years. By 1900
de Laszlo was renowned in the highest circles and his reputation
inevitably reached the land of Rembrandt. De Laszszlo became very
popular with Holland's cosmopolitan aristocratic and
entrepreneurial families.Over the years, members of the Loudon and
Deterding families, Cremer and Count Schimmelpenninck all sat to
him. The portraits have remained in the families' private
collections, and are here published for the first time.The book
accompanies an exhibition of de Laszlo's Dutch portraits in the Van
Loon house in the heart of Amsterdam, built in 1672, which was
opened as a museum in 1973. It is a complete catalogue of de
Laszlo's Dutch oeuvre as it is known today."
You are probably thinking Rod Berry, who is that? Yes, you are
right, it is a pseudonym; we cant publish his real name. Rod Berry
mainly lives in eastern Germany and has been doing erotic
photography for several years. Rod likes to experiment, and strives
to capture the perfect blend of voyeurism and exhibitionism. His
work stimulates the imaginations of model, photographer and viewer
in all sorts of different ways, because the biggest erogenous zone
of all is the one inside our heads.
What did it mean for painter Lee Krasner to be an artist and a
woman if, in the culture of 1950s New York, to be an artist was to
be Jackson Pollock and to be a woman was to be Marilyn Monroe? With
this question, Griselda Pollock begins a transdisciplinary journey
across the gendered aesthetics and the politics of difference in
New York abstract, gestural painting. Revisiting recent exhibitions
of Abstract Expressionism that either marginalised the artist-women
in the movement or focused solely on the excluded women, as well as
exhibitions of women in abstraction, Pollock reveals how theories
of embodiment, the gesture, hysteria and subjectivity can deepen
our understanding of this moment in the history of painting
co-created by women and men. Providing close readings of key
paintings by Lee Krasner and re-thinking her own historic
examination of images of Jackson Pollock and Helen Frankenthaler at
work, Pollock builds a cultural bridge between the New York
artist-women and their other, Marilyn Monroe, a creative actor
whose physically anguished but sexually appropriated star body is
presented as pathos formula of life energy. Monroe emerges as a
haunting presence within this moment of New York modernism, eroding
the policed boundaries between high and popular culture and
explaining what we gain by re-thinking art with the richness of
feminist thought. -- .
A glimpse through the keyhole of history: From the earliest nude
daguerrotypes to experimental nude photography The history of nude
photography is the history of people s fascination with the topic.
Indeed, the photographic depiction of the human body is the only
subject that has enthralled photographers, theoreticians and
consumers over such a long period more than 150 years. No other
motif is as prevalent as this one during all the phases of
development comprising the history of photography, no other is
present, whatever the technique, and is a subject of discussion
within the context of nearly all aesthetic movements. Nor has any
other pictorial topic produced such a variety of specialities as
the nude: from the ethnological interpretation of the body to the
glamour shot, from nudist photography to the pin-up of today. No
other photographic field of application has inspired as much desire
as it has awakened official wrath. 1000 Nudes offers a
cross-section of the history of nude photography, ranging from the
earliest nude daguerrotypes and ethnographic nude photographs to
experimental nude photography. The period of time spanned by this
work is from 1839 to roughly 1939, from the medium s infancy to the
end of the classic modernist period. Content-wise, the book pays
tribute to the full range of pictorial approaches, from the
manually elaborated artistic nudes of the turn of the century,
enveloped in layers of theory, to the obscene postcard motifs which
had not the slightest artistic pretension and were intended to
exert a maximum effect on the buyer s wallet. All the pictures
shown are taken from the late Uwe Scheid s collection, which was
one of the world s largest and most important collections of erotic
photography."
This guide encourages you to forget about creating a likeness,
and instead, to concentrate on seeing and drawing the big shapes of
dark and light. The likenesses will follow. In a clear,
step-by-step format, with the help of nine start-to-finish portrait
demonstrations, you will learn:
- Easy, basic pencil and charcoal techniques
- How to draw each feature of the face
- How to communicate various facial expressions
- Techniques for working from live models
- How to draw a variety of people, different poses and lighting
conditions
This richly illustrated book features an introduction by the
National Portrait Gallery's chief curator and nearly 150 insightful
entries on key self-portraits in the museum's collection. Eye to I
provides readers with an overview of self-portraiture while
revealing the intersections that exist between art, life, and
self-representation. Drawing primarily from the museum's
collection, Eye to I explores how American artists have portrayed
themselves over the past two centuries. The book shows that while
each individual approaches self-portraiture under unique
circumstances, all of their representations raise important
questions about self-perception and self-reflection. Sometimes
artists choose to reveal intimate details of their inner lives.
Other times they use the genre to obfuscate their true selves or
invent alter egos. Today, with the proliferation of selfies and the
contemporary focus on identity, it is time to reassess the
significance of the self-portrait.
Sarah Raphael (1960-2001) died young: preparing a show for New
York, she contracted pneumonia and never recovered. Her work,
large- and small-scale, is now represented in all the leading
British collections. A major retrospective at Marlborough Fine
Arts, London, in 2003, bringing together work from her last seven
years, was as amazing as her earlier exhibitions in its brilliance,
its formal variety and inventiveness. One breathtaking area of her
work which has so far been inadequately displayed is her drawing.
There are few modern artists who equal her in assurance and
firmness of line. Michael Ayrton said to her when she was fourteen,
'Draw your own hands. If you can draw your own hands you can do
anything.' She did, and she could. Her informal portraits of
friends, some well-known, some unknown, never flatter except in
telling the truth. She did justice to every model, and her sense of
setting, the economy of her perspectives, her ability to create
presence, continue to amaze the viewer. Even the most seemingly
casual sketch, closely observed, reconstitutes an original,
sculptural space about it. The lessons Michael Ayrton taught
ensured that she is always at least a three-dimensional artist.
Most of the drawings are from her notebooks and sketchbooks, and
Frederic Raphael draws from over twenty-five years of work,
primarily pencil sketches. As William Boyd has written, 'you can
tell how good they are, yourself'. She has her own, unarguable
authority.
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The Naked Truth about Men
(Hardcover)
Hans W Fahrmeyer; Contributions by Hans W Fahrmeyer; Afterword by Trevor Briggs
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R1,194
R964
Discovery Miles 9 640
Save R230 (19%)
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Painting Childhood
(Paperback)
Emily Knight, Amy Orrock, Martin Postle, Jill Seaton
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R509
R403
Discovery Miles 4 030
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Children have always fascinated artists and Painting Childhood will
explore some of the most iconic paintings of children produced over
the past 500 years. Featuring stunning portraits, amusing genre
scenes and touching 'fancy pictures', the book will examine both
the creative process and the specifi c challenges posed by painting
children: from how to capture the fleeting moments of youth to how
to encourage young subjects to sit still. Accompanying the
exhibitions Painting Childhood: From Holbein to Freud and Childhood
Now, the book will discuss a wealth of masterpieces from British
collections by artists including Hans Holbein the Younger, Anthony
van Dyck, Jan Steen, Bartolome Esteban Murillo, William Hogarth,
Joshua Reynolds, Thomas Gainsborough, Johan Zoff any and John
Everett Millais. These iconic paintings will be considered
alongside the preparatory sketches that were made for them and the
works that were made after them in an exploration of the creative
process and the artistic 'conversations' that occurred throughout
the centuries. Painting Childhood will also explore 'intimate
portraits' - artist's portrayals of their own children. Paintings,
sketches and sculptures by Stanley Spencer, Louise Bourgeois, Jacob
Epstein and Lucian Freud, among others, present highly personal
insights into the place of family within an artist's life, and the
ongoing dialogue between biography and creativity. This theme
extends to the present day, and the work of three contemporary
figurative painters - Chantal Joffe, Mark Fairnington and Matthew
Krishanu. Drawn to children as subjects, each of these London-based
artists depict childhood in very diff erent ways. Together, they
provide fresh perspectives on what constitutes childhood today and
reaffirm the place of painting as a diverse and powerful artistic
practice.
A fascinating look at the partnership of artist James McNeill
Whistler and his chief model, Joanna Hiffernan, and the iconic
works of art resulting from their life together "[A] lavish volume.
. . . Illuminating. . . . MacDonald's deep research has . . .
unearthed important new facts."-Gioia Diliberto, Wall Street
Journal In 1860 James McNeill Whistler (1834-1903) and Joanna
Hiffernan (1839-1886) met and began a significant professional and
personal relationship. Hiffernan posed as a model for many of
Whistler's works, including his controversial Symphony in White
paintings, a trilogy that fascinated and challenged viewers with
its complex associations with sex and morality, class and fashion,
academic and realist art, Victorian popular fiction, aestheticism
and spiritualism. This luxuriously illustrated volume provides the
first comprehensive account of Hiffernan's partnership with
Whistler throughout the 1860s and 1870s-a period when Whistler was
forging a reputation as one of the most innovative and influential
artists of his generation. A series of essays discusses how
Hiffernan and Whistler overturned artistic conventions and sheds
light on their interactions with contemporaries, including Gustave
Courbet, for whom she also modeled. Packed with new insights into
the creation, marketing, and cultural context of Whistler's iconic
works, this study also traces their resonance for his fellow
artists, including Dante Gabriel Rossetti, Edgar Degas, John Singer
Sargent, and Gustav Klimt. Published in association with the
National Gallery of Art, Washington Exhibition Schedule: Royal
Academy of Arts, London (February 23-May 23, 2022) National Gallery
of Art, Washington (July 3-October 10, 2022)
Fehl Cannon's work is about permission to look, admire &
desire. His guys share his obsession with their bodies. Props are
used as erotic symbols serving as totems of masculinity, emblems of
private and communal fantasies. Fehl Cannon captures male energy,
freezing it for our view in a split-second flash.
This beautifully illustrated and exquisitely designed volume of
paintings, sculpture, medals, and drawings celebrates the
extraordinary flowering of female portraiture, mainly in Florence,
beginning in the latter half of the fifteenth century. Included are
many of the finest portraits of women (and a few of men) by Filippo
Lippi, Domenico Ghirlandaio, Antonio Pollaiuolo, Botticelli,
Verrocchio, and Leonardo da Vinci--whose remarkable double-sided
portrait of Ginevra de' Benci, which departs notably from
tradition, is the focus of special attention.
It was in Florence during this period that portraiture expanded
beyond the realm of rulers and their consorts to encompass women of
the merchant class. This phenomenon, long known to scholars, is
here presented to a larger audience for the first time. The
catalogue, which accompanies an exhibition at the National Gallery
of Art, traces how the humanist praise of women influenced and
enlivened their depiction. It also considers how meaningful
costumes and settings were chosen. Works from outside Florence by
such masters as Pisanello, Rogier van der Weyden, and Ercole
Roberti shed additional light on the evolution of female
portraiture during the century from c. 1440 to c. 1540.
An introduction by editor and exhibition organizer David Alan
Brown and four engaging essays by other experts on Renaissance
art--Dale Kent, Joanna Woods-Marsden, Mary Westerman Bulgarella and
Roberta Orsi Landini, and Victoria Kirkham--perfectly complement
the more than one hundred illustrations, which include ninety-seven
full-color plates. The catalogue entries are concise while
revealing the key aspects of each portrait--from style and sources
to ongoing scholarly debates. This elegant, enlightening book is
itself a telling portrait not only of the art but also of the
broader issues of women's freedom, responsibility, and
individuality in a most exceptional era.
EXHIBITION SCHEDULE
National Gallery of Art, Washington, D.C.
September 30, 2001-January 6, 2002
Renaissance bodies, dressed and undressed, have not lacked
attention in art historical literature, but scholarship on the male
body has generally concentrated on phallic-oriented masculinity and
been connected to issues of patriarchy and power. This original
book examines the range of meaning that has been attached to the
male backside in Renaissance art and culture, the transformation of
the base connotation of the image to high art, and the question of
homoerotic impulses or implications of admiring male figures from
behind. Representations of the male body's behind have often been
associated with things obscene, carnivalesque, comical, or
villainous. Presenting serious scholarship with a deft hand, Seen
from Behind expands our understanding of the motif of the male
buttocks in Renaissance art, revealing both continuities and
changes in the ways the images convey meaning and have been given
meaning.
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