The Discovery of Painting
Author | : Iain Pears |
Publisher | : Paul Mellon Centre for Studies in British Art |
Total Pages | : 291 |
Release | : 1991 |
Genre | : Art |
ISBN | : 9780300051476 |
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Author | : Iain Pears |
Publisher | : Paul Mellon Centre for Studies in British Art |
Total Pages | : 291 |
Release | : 1991 |
Genre | : Art |
ISBN | : 9780300051476 |
Author | : |
Publisher | : Scholastic Reference |
Total Pages | : 45 |
Release | : 1996 |
Genre | : Art |
ISBN | : 9780590476485 |
An interactive introduction to famous painters and their works of art invites young enthusiasts to see art from a creator's perspective with tracing paper, a distortion mirror, and a mix-and-match section.
Author | : Zoe Burke |
Publisher | : Pomegranatekids |
Total Pages | : 0 |
Release | : 2013 |
Genre | : Forest animals |
ISBN | : 9780764964534 |
Simple, rhyming text introduces individual woodland birds and animals as seen in Charley Harper's illustration, "Penitentiary Glen," which is shown as a whole on a fold-out page at the end.
Author | : Gerol'd I. Vzdornov |
Publisher | : BRILL |
Total Pages | : 446 |
Release | : 2017-11-20 |
Genre | : Art |
ISBN | : 9004305270 |
This is the first study in any language to trace the emergence of the art historical interest in icon painting in the nineteenth century with its evident impact on the course of Russian modernism in the twentieth century. Given the surge in popularity of the Russian avant-garde, a book devoted to the gradual awareness of the artistic value of icons and their effect on Russian aesthetics is timely. The discoveries, the false starts, the incompetence, the interaction of dilettantes and academics, the meddling of tsars and church officials, all make for a fascinating tale of growing cultural awarenss. It is a story that prepares the ground for the explosioin of Russian cultural creativity and acceptability in the early twentieth century.
Author | : Benjamin Binstock |
Publisher | : Routledge |
Total Pages | : 459 |
Release | : 2013-03-07 |
Genre | : Art |
ISBN | : 1136087060 |
Johannes Vermeer, one of the greatest Dutch painters and for some the single greatest painter of all, produced a remarkably small corpus of work. In Vermeer's Family Secrets, Benjamin Binstock revolutionizes how we think about Vermeer's work and life. Vermeer, The Sphinx of Delft, is famously a mystery in art: despite the common claim that little is known of his biography, there is actually an abundance of fascinating information about Vermeer’s life that Binstock brings to bear on Vermeer’s art for the first time; he also offers new interpretations of several key documents pertaining to Vermeer that have been misunderstood. Lavishly illustrated with more than 180 black and white images and more than sixty color plates, the book also includes a remarkable color two-page spread that presents the entirety of Vermeer's oeuvre arranged in chronological order in 1/20 scale, demonstrating his gradual formal and conceptual development. No book on Vermeer has ever done this kind of visual comparison of his complete output. Like Poe's purloined letter, Vermeer's secrets are sometimes out in the open where everyone can see them. Benjamin Binstock shows us where to look. Piecing together evidence, the tools of art history, and his own intuitive skills, he gives us for the first time a history of Vermeer's work in light of Vermeer's life. On almost every page of Vermeer's Family Secrets, there is a perception or an adjustment that rethinks what we know about Vermeer, his oeuvre, Dutch painting, and Western Art. Perhaps the most arresting revelation of Vermeer's Family Secrets is the final one: in response to inconsistencies in technique, materials, and artistic level, Binstock posits that several of the paintings accepted as canonical works by Vermeer, are in fact not by Vermeer at all but by his eldest daughter, Maria. How he argues this is one of the book's many pleasures.
Author | : Thomas Puttfarken |
Publisher | : Yale University Press |
Total Pages | : 358 |
Release | : 2000-01-01 |
Genre | : Art |
ISBN | : 9780300081565 |
In this illuminating book, art historian Thomas Puttfarken examines how pictorial composition and attitudes toward it changed between the early Renaissance and the beginning of the nineteenth century. Before 1600, a paintings overall composition was hardly ever discussed. As far as art theory and criticism were concerned, pictorial composition was a "discovery" of the seventeenth century, the author explains. In the first part of the book, Puttfarken investigates why pictorial composition did not figure in earlier accounts of the art. In Italy artists and patrons focused on large-scale wall paintings or altarpieces and on the presentation of life-size saints or protagonists whose physical proportions and interactions in narratives were considered more important than notions of overall effect or pictorial format. The second part of the book discusses the discovery of composition and Its consequences for both the theory and practice of painting, understood as the production of tableaux, or easel pictures. Puttfarken considers the effects on paintings of size, location, perspective, and relief, the relationship between ground and figures and between image and frame, and the different traditions defining Italian and Northern art. For readers with an interest in the theory and history of European art, this book is full of rich insights and fresh analyses.
Author | : |
Publisher | : |
Total Pages | : 36 |
Release | : 1996 |
Genre | : Art |
ISBN | : |
From medieval manuscripts to abstract art, from realism to Cubism, from religious painting to paintings of everyday people.