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In this visually stunning and much anticipated book, acclaimed art
historian Joseph Koerner casts the paintings of Hieronymus Bosch
and Pieter Bruegel in a completely new light, revealing how the
painting of everyday life was born from what seems its polar
opposite: the depiction of an enemy hell-bent on destroying us.
Supreme virtuoso of the bizarre, diabolic, and outlandish, Bosch
embodies the phantasmagorical force of painting, while Bruegel,
through his true-to-life landscapes and frank depictions of
peasants, is the artistic avatar of the familiar and ordinary. But
despite their differences, the works of these two artists are
closely intertwined. Bruegel began his career imitating Bosch's
fantasies, and it was Bosch who launched almost the whole
repertoire of later genre painting. But Bosch depicts everyday life
in order to reveal it as an alluring trap set by a metaphysical
enemy at war with God, whereas Bruegel shows this enemy to be
nothing but a humanly fabricated mask. Attending closely to the
visual cunning of these two towering masters, Koerner uncovers art
history's unexplored underside: the image itself as an enemy. An
absorbing study of the dark paradoxes of human creativity, Bosch
and Bruegel is also a timely account of how hatred can be converted
into tolerance through the agency of art. It takes readers through
all the major paintings, drawings, and prints of these two
unforgettable artists--including Bosch's notoriously elusive Garden
of Earthly Delights, which forms the core of this historical tour
de force. Elegantly written and abundantly illustrated, the book is
based on Koerner's A. W. Mellon Lectures in the Fine Arts, a series
given annually at the National Gallery of Art, Washington.
In 1964 Lucian Freud set his students at the Norwich College of Art
an assignment: to paint naked self-portraits and to make them
'revealing, telling, believable... really shameless'. It was advice
that the artist was often to follow himself. Visceral, unflinching
and often nude, Freud's self-portraits give us an insight into the
development of his style as a painter. The works provide the viewer
with a constant reminder of the artist's overwhelming presence,
whether he is confronting the viewer directly or only present as a
shadow or in a reflection. Essays by leading authorities -
including those who knew him well - explore Freud's life and work,
and analyse the importance of self-portraiture in his practice and
the intensity that he maintained when studying his own.
In the 1960s, art patron Dominique de Menil founded an image
archive showing the ways that people of African descent have been
represented in Western art. Highlights from her collection appeared
in three large-format volumes that quickly became collector's
items. A half-century later, Harvard University Press and the Du
Bois Institute are proud to publish a complete set of ten sumptuous
books, including new editions of the original volumes and two
additional ones.
The much-awaited "Artists of the Renaissance and Baroque" has
been written by an international team of distinguished scholars,
and covers the sixteenth and seventeenth centuries. The rise of
slavery and the presence of black people in Europe irrevocably
affected the works of the best artists of the time. Essays on the
black Magus and the image of the black in Italy, Spain, and
Britain, with detailed studies of Rembrandt and Heliodorus's
"Aethiopica," all presented with superb color plates, make this new
volume a worthy addition to this classic series.
An investigation into how landscape drawing informed a new Dutch
identity in the sixteenth and seventeenth centuries Throughout the
sixteenth and seventeenth centuries, amid enormous expansion in
global commerce and colonization, landscape drawing played a key
role in forging Dutch national identity. Featuring works on paper
by Rembrandt, Bruegel, and Ruisdael, among dozens of other artists,
this study examines how a hyperlocal impulse in many of these
drawings inspired domestic pride and a sense of connection to the
land, as they also reflected aspects of the broader ecological and
social change taking place. Incisive essays offer close readings
that push our understandings of these artists and their work in
important new directions, including eco-criticism, land use and
environmentalism, race, and class. Distributed for the Harvard Art
Museums Exhibition Schedule: Harvard Art Museums, Cambridge, MA
(May 21-August 14, 2022)
The well-known South African artist William Kentridge (b. 1955) has
become famous for his time-lapse animation movies and
installations, as well as his activities as an opera and theater
director. This book offers a unique selection of Kentridge's work
curated for Sint-Janshospitaal in Bruges-at 800 years one of
Europe's oldest surviving hospital buildings - organized around the
themes of trauma and healing. The book features an introduction by
Margaret K. Koerner, and also includes essays by diverse
distinguished contributors: Benjamin Buchloh considers Kentridge's
alternate reception of the historical avant-garde from a
perspective of exile; Joseph Leo Koerner explores the artist's work
as a self-styled process of working in which the past
simultaneously disfigures and redeems; and Harmon Siegel examines
Kentridge's approach to film history.
Description Ruby is a dynamic language perfect for creating
applications, development tools, and administrative scripts. The
Well-Grounded Rubyist, Third Edition is a perfect tutorial for
newcomers to Ruby and a great way for experienced Rubyists to
deepen their understanding of the language. Key features * Fully
updated to cover the latest in Ruby 2.5 * Clear explanations of
Ruby concepts and how to apply them * Simple examples to seal in
the learning * Prepares readers to use Ruby anywhere for any
purpose Audience This book teaches Ruby from the ground up. The
reader should have command of basic programming concepts in another
language. About the technology Because it's the backbone of the
well-loved Ruby on Rails web framework, Ruby has become one of the
most popular programming languages in the world. David A. Black is
an internationally-known Ruby developer, author, trainer, speaker,
and event organizer, as well as a co-founder of Ruby Central.
Joseph Leo III is a Ruby teacher, mentor, and community advocate.
He is the lead organizer of the Gotham Ruby Conference (GoRuCo) and
founder of Def Method.
The revolutionary spirit that animates the culture of the Germans
has been alive for at least twelve centuries, far longer than the
dramatically fragmented and reshaped political entity known as
Germany. German culture has been central to Europe, and it has
contributed the transforming spirit of Lutheran religion, the
technology of printing as a medium of democracy, the soulfulness of
Romantic philosophy, the structure of higher education, and the
tradition of liberal socialism to the essential character of modern
American life.
In this book leading scholars and critics capture the spirit of
this culture in some 200 original essays on events in German
literary history. Rather than offering a single continuous
narrative, the entries focus on a particular literary work, an
event in the life of an author, a historical moment, a piece of
music, a technological invention, even a theatrical or cinematic
premiere. Together they give the reader a surprisingly unified
sense of what it is that has allowed Meister Eckhart, Hildegard of
Bingen, Luther, Kant, Goethe, Beethoven, Benjamin, Wittgenstein,
Jelinek, and Sebald to provoke and enchant their readers. From the
earliest magical charms and mythical sagas to the brilliance and
desolation of 20th-century fiction, poetry, and film, this
illuminating reference book invites readers to experience the full
range of German literary culture and to investigate for themselves
its disparate and unifying themes.
Contributors include: Amy M. Hollywood on medieval women
mystics, Jan-Dirk Muller on Gutenberg, Marion Aptroot on the
Yiddish Renaissance, Emery Snyder on the Baroque novel, J. B.
Schneewind on Natural Law, Maria Tatar on the Grimmbrothers, Arthur
Danto on Hegel, Reinhold Brinkmann on Schubert, Anthony Grafton on
Burckhardt, Stanley Corngold on Freud, Andreas Huyssen on Rilke,
Greil Marcus on Dada, Eric Rentschler on Nazi cinema, Elisabeth
Young-Bruehl on Hannah Arendt, Gordon A. Craig on Gunter Grass,
Edward Dimendberg on Holocaust memorials.
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War Tower (Paperback)
Joseph Leo Decelle
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R490
R417
Discovery Miles 4 170
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Harmonie (Paperback)
Michael Thompson; Joseph Leo Hickey
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R312
Discovery Miles 3 120
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Liefie (Paperback)
Michael Thompson; Joseph Leo Hickey
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R312
Discovery Miles 3 120
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An unprecedented survey of artists in exile from the 19th century
through the present day, with notable attention to Asian, Latin
American, African American, and female artists This timely book
offers a wide-ranging and beautifully illustrated study of exiled
artists from the 19th century through the present day, with notable
attention to individuals who have often been relegated to the
margins of publications on exile in art history. The artworks
featured here, including photography, paintings, drawings, prints,
and sculpture, present an expanded view of the conditions of
exile-forced or voluntary-as an agent for both trauma and
ingenuity. The introduction outlines the history and perception of
exile in art over the past 200 years, and the book's four sections
explore its aesthetic impact through the themes of home and
mobility, nostalgia, transfer and adjustment, and identity. Essays
and catalogue entries in each section showcase diverse artists,
including not only European ones-like Jacques-Louis David, Paul
Gauguin, George Grosz, and Kurt Schwitters-but also female, African
American, East Asian, Latin American, and Middle Eastern artists,
such as Elizabeth Catlett, Harold Cousins, Mona Hatoum, Lotte
Jacobi, An-My Le, Matta, Ana Mendieta, Abelardo Morell, Mu Xin, and
Shirin Neshat. Distributed for the Yale University Art Gallery
Exhibition Schedule: Yale University Art Gallery
(09/01/17-12/31/17)
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Johnny Human (Paperback)
Joseph Leo Decelle
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R469
R401
Discovery Miles 4 010
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Unity (Paperback)
Joseph Leo Hickey
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R315
Discovery Miles 3 150
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The self-portrait has become a model of what art is: the artwork is
the image of its maker, and understanding the work means recovering
from it an original vision of the artist. In this ground-breaking
work, Joseph Leo Koerner analyzes the historical origin of this
model in the art of Albrecht Durer and Hans Baldung Grien, the
first modern self-portraitist and his principal disciple. By doing
so, he develops new approaches to the visual image and to its
history in early modern European culture. Koerner establishes the
character of German Renaissance art by considering how Durer's and
Baldung's pictures register changes in the status of the self
during the sixteenth century. He contends that Durer's
self-portrait of 1500, modeled after icons of Christ, reinvented
art for new conditions of piety, labor, patronage, and
self-understanding at the eve of the Reformation. So foundational
is this invention to modern aesthetics, Koerner argues, that
interpreting it takes us to the limits of traditional
art-historical method. Self-portraiture becomes legible less
through a history leading up to it, or through a sum of contexts
that occasion it, than through its historical sight-line to the
present. After a thorough examination of Durer's startlingly new
self-portraits, the author turns to the work of Baldung, Durer's
most gifted pupil, and demonstrates how the apprentice willfully
disfigured Durer's vision. Baldung replaced the master's
self-portraits with some of the most obscene and bizarre pictures
in the history of art. In images of nude witches, animated
cadavers, and copulating horses, Baldung portrays the debased self
of the viewer as the true subject of art. The Moment of
Self-Portraiturethus unfolds as passages from teacher to student,
artist to viewer, reception, all within a culture that at once
deified and abhorred originality. Koerner writes a new,
philosophical art history in which the visual image is both
document of history and living vehicle of thought. He demonstrates
the extent to which novel ideas about self and interpretation
invented by Renaissance artists and Reformation thinkers informed
modern hermeneutics and helped to found our deepest assumptions
about art and its messages.
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