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Books > Arts & Architecture > Art forms, treatments & subjects > Art treatments & subjects > Iconography, subjects depicted in art > Human figures depicted in art
The great pin-up illustrators of the '30s through the '60s have
inspired a whole new generation of digital photographers. Replacing
the artist's palette with myriad photo editing tools, the modern
photographer has kept the pin-up tradition alive. This book is a
visual delight with more than 300 photos from 25 photographers
nationwide. The vintage images from cheesecake pin-up to Hollywood
glamour will surely take you back in time, as will classic military
nose art and authentic WWII bomber jackets. The pin-up models were
photographed in the most scenic locations in the United States.
This volume considers pictured and picturing women in Renaissance and Baroque Italy as the subjects, creators, patrons, and viewers of art. Women's experiences and needs (perceived by women themselves or defined by men on their behalf) are seen as important determinants in the production and consumption of visual culture. By using a variety of approaches the contributors demonstrate the importance of adopting an interdisciplinary approach when studying women in Italy from the fourteenth to the seventeenth centuries.
What is a woman? What is a man? How do they--and how should
they--relate to each other? Does our yearning for "wholeness" refer
to something real, and if there is a Whole, what is it, and why do
we feel so estranged from it? For centuries now, art and literature
have increasingly valorized uniqueness and self-sufficiency. The
theoreticians who loom so large within contemporary thought also
privilege difference over similarity. Silverman reminds us that
this is but half the story, and a dangerous half at that, for if we
are all individuals, we are doomed to be rivals and enemies. A much
older story, one that prevailed through the early modern era, held
that likeness or resemblance was what organized the universe, and
that everything emerges out of the same flesh. Silverman shows that
analogy, so discredited by much of twentieth-century thought,
offers a much more promising view of human relations. In the West,
the emblematic story of turning away is that of Orpheus and
Eurydice, and the heroes of Silverman's sweeping new reading of
nineteenth- and twentieth-century culture, the modern heirs to the
old, analogical view of the world, also gravitate to this myth.
They embrace the correspondences that bind Orpheus to Eurydice and
acknowledge their kinship with others past and present. The first
half of this book assembles a cast of characters not usually
brought together: Friedrich Nietzsche, Sigmund Freud, Marcel
Proust, Lou-Andreas Salome, Romain Rolland, Rainer Maria Rilke,
Wilhelm Jensen, and Paula Modersohn-Becker. The second half is
devoted to three contemporary artists, whose works we see in a
moving new light: Terrence Malick, James Coleman, and Gerhard
Richter.
Though portraits of old women mediate cultural preoccupations just
as effectively as those of younger women, the scant published
research on images of older women belies their significance within
early modern Italy. This study examines the remarkable flowering,
largely overlooked in portraiture scholarship to date, of portraits
of old women in Northern Italy and especially Bologna during the
second half of the sixteenth century, when, as a result of
religious reform, the lives of women and the family came under
increasing scrutiny. Old Women and Art in the Early Modern Italian
Domestic Interior draws on a wide range of primary visual sources,
including portraits, religious images, architectural views, prints
and drawings, as well as extant palazzi and case, furnishings, and
domestic objects created by the leading artists in Bologna,
including Lavinia Fontana, Bartolomeo Passerotti, Denys Calvaert,
and the Carracci. The study also draws on an array of historical
sources - including sixteenth-century theories of portraiture,
prescriptive writings on women and the family, philosophical and
practical treatises on the home economy, sumptuary legislation,
books of secrets, prescriptive writings on old age, and household
inventories - to provide new historical perspectives on the
domestic life of the propertied classes in Bologna during the
period. Author Erin Campbell contends that these images of
unidentified women are not only crucial to our understanding of the
cultural operations of art within the early modern world, but also,
by working from the margins to revise the center, provide an
opportunity to present new conceptual frameworks and question our
assumptions about old age, portraiture, and the domestic interior.
The family model has been central to patterns of social
organization and cultural articulation throughout Chinese history,
influencing all facets of the content and style of Chinese art.
With contributors drawn from the disciplines of art history,
anthropology, psychiatry, history, and literature, this volume
explores the Chinese concept of family and its impact upon artistic
production. In essays ranging from the depiction of children to
adult portraiture, through literary constructions of gender and the
psychodynamics of cinema, these authors consider the historical
foundations of the family--both real and ideal--in ancient China,
discuss the perpetuation of this model in later Chinese history and
modern times, and analyze how family paradigms informed and
intersected with art and literature.
Dioramas are devices on the frontier of different disciplines: art,
anthropology, and the natural sciences, to name a few. Their use
developed during the nineteenth century, following reforms aimed at
reinforcing the educational dimension of museums. While dioramas
with human figures are now the subject of healthy criticism and are
gradually being dismantled, a thorough study of the work of artists
and scientists who made them helps shed light on their genesis.
Among other displays, this book examines anthropological dioramas
of two North American museums in the early twentieth century: the
American Museum of Natural History in New York, and the New York
State Museum. Sites of creation and mediation of knowledge,
combining painting, sculpture, photography, and material culture,
dioramas tell a story that is always political.
This beautifully illustrated volume showcases over 70 exquisite
pieces from the Cleveland Museum of Art's internationally important
collection of British portrait miniatures which range in date from
the 17th to the 19th century. It features the work of leading
miniaturists, including Nicholas Hilliard, Isaac Oliver, Samuel
Cooper, as well as an extensive collection of miniatures by Richard
Cosway, much of it shown here for the first time. Author Cory
Korkow includes new research about the artists, sitters and owners
of these precious miniatures. Each is accompanied by a detailed
catalogue entry including notes on both the work and biographical
information on the artist, as well as a dramatic full-page colour
plate. Supplementary illustrations show the front and back of the
miniatures to scale, which, along with numerous conservation
photographs, index of artists allows this stunning collection to be
studied in detail for the first time. The volume also includes an
index of artists.
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.
Slave Portraiture in the Atlantic World is the first book to focus
on the individualized portrayal of enslaved people from the time of
Europe's full engagement with plantation slavery in the late
sixteenth century to its final official abolition in Brazil in
1888. While this period saw the emergence of portraiture as a major
field of representation in Western art, 'slave' and 'portraiture'
as categories appear to be mutually exclusive. On the one hand, the
logic of chattel slavery sought to render the slave's body as an
instrument for production, as the site of a non-subject.
Portraiture, on the contrary, privileged the face as the primary
visual matrix for the representation of a distinct individuality.
Essays address this apparent paradox of 'slave portraits' from a
variety of interdisciplinary perspectives, probing the historical
conditions that made the creation of such rare and enigmatic
objects possible and exploring their implications for a more
complex understanding of power relations under slavery.
In this meditation/how-to guide on drawing as an ethnographic
method, Andrew Causey offers insights, inspiration, practical
techniques, and encouragement for social scientists interested in
exploring drawing as a way of translating what they "see" during
their research.
Is there more to portraiture than eyes meeting eyes? Beyond the
Face: New Perspectives on Portraiture presents sixteen essays by
leading scholars who explore the subtle means by which artists--and
subjects--convey a sense of identity and reveal historical context.
Examining a wide range of topics, from early caricature and
political vandalism of portraits to contemporary selfies and
performance art, these studies challenge our traditional
assumptions about portraiture. By probing the diversity and
complexity of portrayal, Beyond the Face fills a gap in current
scholarship and offers a resource for teaching art history,
subjectivity, and the construction of identity.
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