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Modern Art - Selected Essays
Leo Steinberg; Edited by Sheila Schwartz; Introduction by James Meyer
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R1,561
Discovery Miles 15 610
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The fifth and final volume in the Essays by Leo Steinberg series,
focusing on modern artists. Â Leo Steinberg was one of the
most original art historians of the twentieth century, known for
taking interpretive risks that challenged the profession by
overturning reigning orthodoxies. In essays and lectures ranging
from old masters to modern art, he combined scholarly erudition
with eloquent prose that illuminated his subject and a credo that
privileged the visual evidence of the image over the literature
written about it. His writings, sometimes provocative and
controversial, remain vital and influential reading. Steinberg’s
perceptions evolved from long, hard looking at his objects of
study. Almost everything he wrote included passages of formal
analysis that were always put into the service of interpretation.
 Following the series publication on Pablo Picasso, this
volume focuses on other modern artists, including CĂ©zanne, Monet,
Matisse, Max Ernst, Jasper Johns, Robert Rauschenberg, Roy
Lichtenstein, Hans Haacke, and Jeff Koons. Included are seven
unpublished lectures and essays, Steinberg’s landmark essay
“Encounters with Rauschenberg,” a survey of twentieth-century
sculpture, and an examination of the role of authorial
predilections in critical writing. The final chapter presents a
collection of Steinberg’s humorous pieces, witty forays penned
for his own amusement.  Modern Art is the fifth and
final volume in a series that presents Steinberg’s writings,
selected and edited by his longtime associate Sheila Schwartz.
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The fourth volume in the Essays by Leo Steinberg series, focusing
on the artist Pablo Picasso. Leo Steinberg was one of the most
original art historians of the twentieth century, known for taking
interpretive risks that challenged the profession by overturning
reigning orthodoxies. In essays and lectures ranging from old
masters to modern art, he combined scholarly erudition with
eloquent prose that illuminated his subject and a credo that
privileged the visual evidence of the image over the literature
written about it. His writings, sometimes provocative and
controversial, remain vital and influential reading. Steinberg's
perceptions evolved from long, hard looking at his objects of
study. Almost everything he wrote included passages of formal
analysis but always put into the service of interpretation. This
volume brings together Steinberg's essays on Pablo Picasso, many of
which have been studied and debated for decades, such as "The
Philosophical Brothel," as well as unpublished lectures, including
"The Intelligence of Picasso," a wide-ranging look at Picasso's
enduring ambition to stretch the agenda of representation, from
childhood drawings to his last self-portrait. An introduction by
art historian Richard Shiff contextualizes these works and
illuminates Steinberg's lifelong dedication to refining the
expository, interpretive, and rhetorical features of his writing.
Picasso is the fourth volume in a series that presents Steinberg's
writings, selected and edited by his longtime associate Sheila
Schwartz.
Leo Steinberg was one of the most original art historians of the
twentieth century, known for taking interpretive risks that
challenged the profession by overturning reigning orthodoxies. In
essays and lectures that ranged from old masters to contemporary
art, he combined scholarly erudition with an eloquent prose that
illuminated his subject and a credo that privileged the visual
evidence of the image over the literature written about it. His
writings, sometimes provocative and controversial, remain vital
reading. For half a century, Steinberg delved into Michelangelo's
work, revealing the symbolic structures underlying the artist's
highly charged idiom. This volume of essays and unpublished
lectures elucidates many of Michelangelo's paintings, from frescoes
in the Sistine Chapel to the Conversion of St. Paul and the
Crucifixion of St. Peter, the artist's lesser-known works in the
Vatican's Pauline Chapel; also included is a study of the
relationship of the Doni Madonna to Leonardo. Steinberg's
perceptions evolved from long, hard looking. Almost everything he
wrote included passages of old-fashioned formal analysis, but
always put into the service of interpretation. He understood that
Michelangelo's rendering of figures, as well as their gestures and
interrelations, conveys an emblematic significance masquerading
under the guise of naturalism. Michelangelo pushed Renaissance
naturalism into the furthest reaches of metaphor, using the
language of the body to express fundamental Christian tenets once
expressible only by poets and preachers. Michelangelo's Paintings
is the second volume in a series that presents Steinberg's
writings, selected and edited by his longtime associate Sheila
Schwartz.
Leo Steinberg was one of the most original and daring art
historians of the twentieth century, known for taking
interpretative risks that challenged the profession by overturning
reigning orthodoxies. In essays and lectures that ranged from old
masters to contemporary art, he combined scholarly erudition with
an eloquent prose that illuminated his subject and a credo that
privileged the visual evidence of the image over the literature
written about it. His works, sometimes provocative and
controversial, remain vital and influential reading. For half a
century, Steinberg delved into Michelangelo's work, revealing the
symbolic structures underlying the artist's highly charged idiom.
This volume of essays and unpublished lectures explicates many of
Michelangelo's most celebrated sculptures, applying principles
gleaned from long, hard looking. Almost everything Steinberg wrote
included passages of old-fashioned formal analysis, but here put to
the service of interpretation. He understood that Michelangelo's
rendering of figures as well as their gestures and interrelations
conveys an emblematic significance masquerading under the guise of
naturalism. Michelangelo pushed Renaissance naturalism into the
furthest reaches of metaphor, using the language of the body and
its actions to express fundamental Christian tenets once
expressible only by poets and preachers--or, as Steinberg put it,
in Michelangelo's art, "anatomy becomes theology." Michelangelo's
Sculpture is the first in a series of volumes of Steinberg's
selected writings and unpublished lectures, edited by his longtime
associate Sheila Schwartz. The volume also includes a book review
debunking psychoanalytic interpretation of the master's work, a
lighthearted look at Michelangelo and the medical profession and,
finally, the shortest piece Steinberg ever published.
In a voice reminiscent of Cynthia Ozick, this Jewish/Gothic
novel renders the fracture and healing of the Rosen family. Jane
Rosen leaves her three daughters and husband Saul, a rabbi, to care
for her mother in Florida. In Jane's absence, Saul
discovers--through the deathbed confession of a man in his
congregation--that his wife had an affair ten years earlier.
Enraged, he ostracizes Jane from the family and strands her in
Florida with her grief.
Shelia Schwartz's first novel navigates through the
psychological and spiritual shoals of modern life where ancient
wisdom urges hope and redemption from despair.
Leo Steinberg was one of the most original art historians of the
twentieth century, known for taking interpretive risks that
challenged the profession by overturning reigning orthodoxies. In
essays and lectures ranging from old masters to contemporary art,
he combined scholarly erudition with an eloquent prose that
illuminated his subject and a credo that privileged the visual
evidence of the image over the literature written about it. His
writings, sometimes provocative and controversial, remain vital and
influential reading. Steinberg's perceptions evolved from long,
hard looking at his objects of study. Almost everything he wrote
included passages of formal analysis, but always put into the
service of interpretation. This volume begins and ends with
thematic essays on two fundamental precepts of Steinberg's art
history: how dependence on textual authority mutes the visual
truths of images and why artists routinely copy or adapt earlier
artworks. In between are fourteen chapters on masterpieces of
Renaissance and Baroque art, with bold and enlightening
interpretations of works by Mantegna, Filippo Lippi, Pontormo, El
Greco, Caravaggio, Steen and, finally, Velazquez. Four chapters are
devoted to some of Velazquez's best-known paintings, ending with
the famously enigmatic Las Meninas. Renaissance and Baroque Art is
the third volume in a series that presents Steinberg's writings,
selected and edited by his longtime associate Sheila Schwartz.
"Growing Up Guilty" is the story of a young girl's coming of age at
the onset of World War II. Susan finds it difficult to understand
life with her hostile mother and passive father. It is also
difficult for her to understand the social and political forces
swirling around her. Her life changes when she meets Sol in high
school. At his home, Susan finds a different world. Susan lives in
the aftermath of Pearl Harbor but her coming of age problems are
universal for all young women seeking to find themselves.
College professor's daughter's embarrassment when he runs off with
a student, leaving his wife and daughter devastated. Jen became so
involved with her mother's problems that she is unable to deal with
her own. A tender, heartwarming story about adolescence-a mother's
and a daughter's-and growing up together.
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