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One of the issues underlying current debates between practitioners
of art history, visual culture and aesthetics is whether the visual
is a unique, irreducible category, or whether it can be assimilated
with the textual or verbal without any significant loss. Can
paintings, buildings or installations be 'read' in the way texts
are read or deciphered, or do works of visual art ask for their own
kind of appreciation? This is not only a question of choosing the
right method in dealing with visual works of art, but also an issue
that touches on the roots of the disciplines involved: can a case
be made for the visual as an irreducible category of art, and if
so, how is it best studied and appreciated? In this anthology, this
question is approached from the angles of three disciplines:
aesthetics, visual culture and art history. Unlike many existing
overviews of visual culture studies, it includes both painting and
architecture, and investigates historical ways of defining and
appreciating the visual in their own, contemporary terms. Dealing
with the Visual will be of great use to advanced students because
it offers an overview of current debates, and to graduate students
and professionals in the field because the essays offer in-depth
investigations of the methodological issues involved and various
historical ways of defining visuality. The topics included range
from early modern ways of viewing pictures and sixteenth-century
views of Palladio's villas in their landscape settings to
contemporary debate about whether there is life yet in painting.
This book was published in 2003. Although it is often assumed that
British writing on architectural theory really started in the 18th
century, there is in fact a large corpus of writing on architecture
pre-dating the introduction of Palladianism by Lord Burlington.
Some of it, such as the English editions of Serlio and Palladio,
belongs to the Vitruvian tradition. But many texts elude such easy
classification, such as the prolonged (but hardly studied)
discussions on church architecture, which are both in form and
content very different from the way that theme was handled in
Italian Renaissance treatises. This collection of English writing
on architecture from 1540 to 1750 offers a large selection of
fragments, some of them never published before. They discuss the
nature of architecture, the practicalities of building, the sense
of the past, religious architecture and classicism.
One of the issues underlying current debates between practitioners
of art history, visual culture and aesthetics is whether the visual
is a unique, irreducible category, or whether it can be assimilated
with the textual or verbal without any significant loss. Can
paintings, buildings or installations be 'read' in the way texts
are read or deciphered, or do works of visual art ask for their own
kind of appreciation? This is not only a question of choosing the
right method in dealing with visual works of art, but also an issue
that touches on the roots of the disciplines involved: can a case
be made for the visual as an irreducible category of art, and if
so, how is it best studied and appreciated? In this anthology, this
question is approached from the angles of three disciplines:
aesthetics, visual culture and art history. Unlike many existing
overviews of visual culture studies, it includes both painting and
architecture, and investigates historical ways of defining and
appreciating the visual in their own, contemporary terms. Dealing
with the Visual will be of great use to advanced students because
it offers an overview of current debates, and to graduate students
and professionals in the field because the essays offer in-depth
investigations of the methodological issues involved and various
historical ways of defining visuality. The topics included range
from early modern ways of viewing pictures and sixteenth-century
views of Palladio's villas in their landscape settings to
contemporary debate about whether there is life yet in painting.
The most famous monument of the Dutch Golden Age is undoubtedly the
Amsterdam Town Hall by architect Jacob van Campen inaugurated in
1655. Today we stand in awe confronted with the grand Classicist
facade, the delightful horror of the sculptures in the Tribunal,
and the magnificence of the huge Citizens' Hall. In the period of
its construction, many artists and writers tried to capture the
overwhelming impact of the building by, among other comparisons,
relating it to the ancient Wonders of the World and by stressing
its splendour, riches, and impressive scale. In doing so, they
constructed the Town Hall as the ultimate wonder, thus offering a
silent, but very powerful testimony to the power and position of
the City of Amsterdam and its rulers as equals of the other
European regimes. To fully understand these mechanisms of power,
this book relates the Town Hall to other, impressive buildings of
the same period-the palace of the Louvre, Saint Peter's Basilica,
and Banqueting House-and their visual and textual representations.
Thus, this book gives a broad audience of readers new insights into
the agency of magnificent buildings. The Amsterdam Town Hall in
Words and Images does not restrict itself to a national scope or a
purely architectural analysis, but clarifies how artists and
writers all over Europe presented buildings as wonders of the
world. This book is pioneering in its analysis of seventeenth and
eighteenth-century paintings, prints, drawings, poems, and travel
accounts and offers a new understanding of how the wondrous
character of these grand buildings was constructed.
Near the end of his life, Giovanni Battista Piranesi (1720-78)
created three colossal candelabra mainly from fragments of
sculpture excavated near the Villa Hadriana in Tivoli, two of which
are now in the Ashmolean Museum, and one in the Louvre. Although
they were among the most sought-after and prestigious of his works,
and fetched enormous prices during Piranesi's life, they suffered a
steep decline in appreciation from the 1820s onwards, and even
today they are among the least studied of his works. Piranesi's
Candelabra and the Presence of the Past uncovers the intense
investment, by artists, patrons, collectors, and the public around
the start of the nineteenth century in objects that made
Graeco-Roman Antiquity present again. Caroline van Eck's study
examines how objects make their makers or viewers feel that they
are again in the presence of Antiquity, that not only Antiquity has
revived, but that classical statues become alive under their gaze.
what it takes to make such objects, and what it costs to own them;
and about the ramifications of such intense if not excessive
attachments to artefacts. This book considers the three candelabra
in depth, providing the biography of these objects, from the
excavation of the Roman fragments to their entry into private and
public collection. Van Eck considers the context that Piranesi gave
them by including them in his Vasi, Candelabri e Cippi (1778), to
rethink the processes that led to the development of neoclassicism
from the perspective of the objects and objectscapes that came into
being in Rome at the end of the eighteenth century.
The most famous monument of the Dutch Golden Age is undoubtedly the
Amsterdam Town Hall by architect Jacob van Campen inaugurated in
1655. Today we stand in awe confronted with the grand Classicist
facade, the delightful horror of the sculptures in the Tribunal,
and the magnificence of the huge Citizens' Hall. In the period of
its construction, many artists and writers tried to capture the
overwhelming impact of the building by, among other comparisons,
relating it to the ancient Wonders of the World and by stressing
its splendour, riches, and impressive scale. In doing so, they
constructed the Town Hall as the ultimate wonder, thus offering a
silent, but very powerful testimony to the power and position of
the City of Amsterdam and its rulers as equals of the other
European regimes. To fully understand these mechanisms of power,
this book relates the Town Hall to other, impressive buildings of
the same period-the palace of the Louvre, Saint Peter's Basilica,
and Banqueting House-and their visual and textual representations.
Thus, this book gives a broad audience of readers new insights into
the agency of magnificent buildings. The Amsterdam Town Hall in
Words and Images does not restrict itself to a national scope or a
purely architectural analysis, but clarifies how artists and
writers all over Europe presented buildings as wonders of the
world. This book is pioneering in its analysis of seventeenth and
eighteenth-century paintings, prints, drawings, poems, and travel
accounts and offers a new understanding of how the wondrous
character of these grand buildings was constructed.
In this book, Caroline van Eck examines how rhetoric and the arts
interacted in early modern Europe. She argues that rhetoric, though
originally developed for persuasive speech, has always used the
visual as an important means of persuasion, and hence offers a
number of strategies and concepts for visual persuasion as well.
The book is divided into three major sections - theory, invention,
and design. Van Eck analyzes how rhetoric informed artistic
practice, theory, and perception in early modern Europe. This is
the first full-length study to look at the issue of visual
persuasion in both architecture and the visual arts, and to
investigate what roles rhetoric played in visual persuasion, both
from the perspective of artists and that of viewers.
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