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The Late Paintings of Velazquez - Theorizing Painterly Performance (Hardcover, New Ed)
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The Late Paintings of Velazquez - Theorizing Painterly Performance (Hardcover, New Ed)
Series: Visual Culture in Early Modernity
Expected to ship within 12 - 17 working days
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The startling conclusion of The Late Paintings of Velazquez is that
Diego Velazquez painted two of his most famous works, The Spinners
and Las Meninas, as theoretically informed manifestos of painterly
brushwork. As a pair, Giles Knox argues, the two paintings form a
learned retort to the prevailing critical disdain for the
painterly. Knox presents a Velazquez who was much more aware of the
art theory of his era than previously acknowledged, leading him to
reinterpret Las Meninas and The Spinners as representing together a
polemically charged celebration of the "handedness" of painting.
Knox removes Velazquez from his Iberian isolation and seeks to
recover his highly self-conscious attempt to carve out a place for
himself within the history of European painting as a whole. The
Late Paintings of Velazquez presents an artist who, like Annibale
Carracci, Poussin, Rembrandt, and Vermeer was not only aware of
contemporary theoretical writings on art, but also able to
translate that knowledge and understanding into a distinctive and
personal theory of painting. In Las Meninas and The Spinners,
Velazquez propounded this theory with paint, not words. Knox's
rethinking of the dynamic relationship between text and image
presents a case, not of writing influencing painting, or vice
versa, but of the two realms being inextricably bound together.
Painterly brushwork presented a challenge to writers on art not
just because it was connected too intimately with the base actions
of the hand; it was also devilishly hard to describe. By reading
Velazquez's painterly performance as text, Knox deciphers how
Velazquez was able to craft theoretical arguments more compelling
and more vivid than any written counterparts.
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