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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 Body in Time looks at two different genres in relation to the
construction of femininity in late nineteenth-century France:
Degas's representation of ballet dancers and the transforming
tradition of female portraiture. Class, gender, power, and agency
are at stake in both arenas, but they play themselves out in
different ways via different pictorial languages. Degas's
depictions of anonymous young female ballerinas at the Paris Opera
reflect his fascination with the physical exertions and prosaic
setting of the dancer's sexualized body. Unlike the standard
Romantic depictions of the ballerina, Degas's dancers are anonymous
spread-legged workers on public display. Female portraiture and
self-portraiture, in contrast, depicted the unique and the
distinctive: privileged women, self-assured individuals
transgressing gender conventions. Focusing on Degas's
representation of the dancer, Tamar Garb examines the development
of Degas's oeuvre from its early Realist documentary ambitions to
the abstracted Symbolist renderings of the feminine as cypher in
his later works. She argues that despite the apparent depletion of
social significance and specificity, Degas's later works remain
deeply enmeshed in contemporary gendered ways of viewing and
experiencing art and life. Garb also looks at the transformation in
the genre of portraiture heralded by the "new woman," examining the
historical expectations of female portraiture and demonstrating how
these expectations are challenged by new notions of female autonomy
and interiority. Women artists such as Anna Klumpke, Rosa Bonheur,
and Anna Bilinska deployed the language of Realism in their own
self-representation. The figure of femininity remained central to
the personal, political, and pictorial imperatives of artists
across the spectrum of modern aesthetics. Gender and genre
intersect throughout this book to show how these categories
mutually impact one another.
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Millennial No-Man
(Paperback)
Alex Dermer; Photographs by Scurvy Drunkard
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R193
R177
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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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