|
|
Books > Arts & Architecture > Art forms, treatments & subjects > Art treatments & subjects > Iconography, subjects depicted in art > Human figures depicted in art
This book analyzes the evolving interaction between court and media
from an understudied perspective. Eight case studies focus on
different European Empress consorts and Queen regnants from the
seventeenth to the twentieth centuries, using a comparative,
cross-media, and cross-period approach. The volume addresses a
multitude of questions, ranging from how dynastic women achieved
public prominence through their portraits; how their faces and
bodies were moulded and rearticulated to fit varying expectations
in the courtly public sphere; and the degree to which they, as
female actors, engaged with or had agency within the processes of
production and reception. In particular, two types of female
rulership and their relationship to diverse media are contrasted,
and lesser-known and under-researched dynastic women are
spotlighted. Contributors: Christine Engelke, Anna Fabiankowitsch,
Inga Lena Angstroem Grandien, Titia Hensel, Andrea Mayr, Alison
McQueen, Marion Romberg, and Alison Rowley.
 |
Addicted to Skin
(Paperback)
Joseph Janeti; Contributions by Zhou Wenjing, Joseph Janeti
|
R512
Discovery Miles 5 120
|
Ships in 18 - 22 working days
|
|
|
 |
Hue & Cry
(Paperback)
Diane K Martin
|
R469
R444
Discovery Miles 4 440
Save R25 (5%)
|
Ships in 18 - 22 working days
|
|
|
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.
 |
Millennial No-Man
(Paperback)
Alex Dermer; Photographs by Scurvy Drunkard
|
R193
R177
Discovery Miles 1 770
Save R16 (8%)
|
Ships in 18 - 22 working days
|
|
|
videos - cinema - imagination - teenagers - disasters - corona -
sex - suits - nostalgia - censorship - toilets - models - pulp -
booze - assassins - doggos - hunting - consumers - retail - bleach
- angels - flies - suicide - everything - poetry
|
|