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The Figurative Works of Chen Hongshou (1599-1652) - Authentic Voices/Expanding Markets (Hardcover, New edition)
Loot Price: R4,731
Discovery Miles 47 310
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The Figurative Works of Chen Hongshou (1599-1652) - Authentic Voices/Expanding Markets (Hardcover, New edition)
Series: Visual Culture in Early Modernity
Expected to ship within 12 - 17 working days
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Despite the importance of Chen Hongshou (1599-1652) as an artist
and scholar of the Ming period, until now no full length study in
English has focused on his work. Author Tamara H. Bentley takes a
broadly interdisciplinary approach, treating Chen's oeuvre in
relation to literary themes and economic changes, and linking these
larger concerns to visual analyses. Considering Chen's paintings
and prints alongside Chen's romance drama commentaries and prefaces
and his collected writings (particularly poetry), Bentley sheds new
light not only on Chen, but also on an important cultural moment in
the first half of the seventeenth century. Through analysis of
Chen's figure paintings and print designs, Bentley examines the
artist's engagement with the values of "authenticity" and
"emotion," which were part of a larger discourse stressing
idiosyncrasy, the individual voice, and vernacular literature. She
contrasts these values with the commercial aspects of his
production, geared at an expanding art market of well-to-do buyers,
excavating the apparent contradiction inherent in the two pursuits.
In the end, she suggests, the emphasis on the "authentic" voice was
marketed to a broad field of anonymous buyers. Though her primary
focus is on Chen Hongshou, Bentley's investigation ultimately
concerns not only this individual artist, but also the effect of
early modern changes on an artist's mode of working and his
self-image, in the West as well as the East. The study touches upon
expanding international trade and the rise of middle class art
markets (including print markets), not only in China but also in
the Dutch Republic in circa 1630-1650. Bentley investigates the
specific rhetoric of different categories of images, including
Chen's non-literal figurative works; literal commemorative
portraits; his printed romance-drama illustrations; and his printed
playing cards. Bentley's investigation takes in issues of studio
practice (including various types of image replicati
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