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| Author | : Sarah E. Betzer |
| Publisher | : University of Pennsylvania Press |
| Total Pages | : 332 |
| Release | : 2012 |
| Genre | : Art |
| ISBN | : 9780271048758 |
An exploration of the portrait art of Jean Auguste Dominique Ingres, focusing on his studio practice and his training of students.
| Author | : Andrew Carrington Shelton |
| Publisher | : Cambridge University Press |
| Total Pages | : 340 |
| Release | : 2005-10-03 |
| Genre | : Art |
| ISBN | : 9780521842433 |
This book examines the critical writing and journalistic reportage on Jean-Auguste-Dominque Ingres, from the time of his renunciation of the Salon in1834 until his large retrospective at the 1855 Universal Exposition, the crucial middle decades of his career. This massive body of writing demonstrates how Ingres shaped his career in the rapidly evolving art world of mid-nineteenth century Paris. Enjoying the benefits of his affiliation with the Academy, the artist also employed certain modes of presentation, most notably the single-artist exhibition and illustrated monograph, through which he distanced himself and his work from the embattled world of artistic officialdom.
| Author | : Susan Siegfried |
| Publisher | : Blackwell Publishing |
| Total Pages | : 178 |
| Release | : 2001-06-08 |
| Genre | : Art |
| ISBN | : 9780631225263 |
This book is a reassessment of the role of Ingres studies in the writing of nineteenth-century art history. The title Fingering Ingres refers to a remark of Jean Cassou, the French art critic, political militant and founding director of the Musee National d'Art Moderne, in which he wrote of Ingres' 'caressing' his materials with the tip of his 'finger-nail'. The volume pays tribute to Ingres' historiographical enigma in bringing together a set of essays that scratch at and perhaps puncture the surface of his received framings. Ranging from the scrupulous study of Ingres' incapacity to allow himself a finished oeuvre, to the artificial construction of his conflict with Delacroix, to a radical re-thinking of his role in cultural modernity, the essays pick out the textures of a crucial mytheme of nineteenth-century French art. Combining scholarship from different generations of the contemporary critical, social and semiotic histories of art,Fingering Ingres offers a freshly virtuoso and deconstructive approach to the art-historical genre of the artist's monograph.
| Author | : |
| Publisher | : Penn State Press |
| Total Pages | : 314 |
| Release | : |
| Genre | : Art |
| ISBN | : 9780271047584 |
In an unprecedented collaboration, two scholars investigate these masterpieces in their broad cultural context. This book is an illustrated, extensively documented, analytical tour de force.
| Author | : Susan L. Siegfried |
| Publisher | : |
| Total Pages | : 536 |
| Release | : 2009 |
| Genre | : Art |
| ISBN | : |
Jean-Auguste-Dominique Ingres (1780-1867) produced a body of work that strongly appealed to his contemporaries while disconcerting them. Even today, the odd qualities of his work continue to fascinate scholars, critics, and artists. In this handsomely illustrated and elegantly written book, Susan L. Siegfried argues that the strangeness associated with Ingres's paintings needs to be located in the complex and richly invested nature of the work itself, as well as in the artist's very powerful--if often perverse--sense of artistic project. She shows that his major re-thinking of pictorial narrative - in his classical literary, historical, and religious subjects - was as central to his achievement as his distinctive rendering of the female figure in classical nudes and portraits. He was engaged in a complex process of giving visual form to narrative, which he did in new and unusual ways that involved him in a close reading of the texts on which he drew, including authors such as Homer, Virgil, Ariosto, and Dante, as well as religious narratives and stories about medieval and early modern French history.
| Author | : Mechthild Fend |
| Publisher | : Manchester University Press |
| Total Pages | : 544 |
| Release | : 2017-01-02 |
| Genre | : Art |
| ISBN | : 1526104679 |
Fleshing out surfaces is the first English-language book on skin and flesh tones in art. It considers flesh and skin in art theory, image making and medical discourse in seventeenth to nineteenth-century France. Describing a gradual shift between the early modern and the modern period, it argues that what artists made when imitating human nakedness was not always the same. Initially understood in terms of the body's substance, of flesh tones and body colour, it became increasingly a matter of skin, skin colour and surfaces. Each chapter is dedicated to a different notion of skin and its colour, from flesh tones via a membrane imbued with nervous energy to hermetic borderline. Looking in particular at works by Fragonard, David, Girodet, Benoist and Ingres, the focus is on portraits, as facial skin is a special arena for testing painterly skills and a site where the body and the image become equally expressive.
| Author | : Stephen Bann |
| Publisher | : Routledge |
| Total Pages | : 236 |
| Release | : 2013-10-18 |
| Genre | : Art |
| ISBN | : 1135870608 |
Stephen Bann examines the arguments for the centrality of French modernist painting. He begins by focusing particularly on the notion of the modernist break, as it has been interpreted with regard to painters like Manet and Ingres. He argues that ‘curiosity’, with its origins in the seventeenth-century world-view can be a valid concept for understanding some aspects of contemporary art that contest the modern, suggesting ways of sidetracking the modern by adopting a lengthier historical view.
| Author | : Rizvana Bradley |
| Publisher | : Stanford University Press |
| Total Pages | : 500 |
| Release | : 2023-10-24 |
| Genre | : Art |
| ISBN | : 150363714X |
In Anteaesthetics, Rizvana Bradley begins from the proposition that blackness cannot be represented in modernity's aesthetic regime, but is nevertheless foundational to every representation. Troubling the idea that the aesthetic is sheltered from the antiblack terror that lies just beyond its sanctuary, Bradley insists that blackness cannot make a home within the aesthetic, yet is held as its threshold and aporia. The book problematizes the phenomenological and ontological conceits that underwrite the visual, sensual, and abstract logics of modernity. Moving across multiple histories and geographies, artistic mediums and forms, from nineteenth-century painting and early cinema, to the contemporary text-based works, video installations, and digital art of Glenn Ligon, Mickalene Thomas, and Sondra Perry, Bradley inaugurates a new method for interpretation—an ante-formalism which demonstrates how black art engages in the recursive deconstruction of the aesthetic forms that remain foundational to modernity. Foregrounding the negativity of black art, Bradley shows how each of these artists disclose the racialized contours of the body, form, and medium, even interrogating the form that is the world itself. Drawing from black critical theory, Continental philosophy, film and media studies, art history, and black feminist thought, Bradley explores artistic practices that inhabit the negative underside of form. Ultimately, Anteaesthetics asks us to think philosophically with black art, and with the philosophical invention black art necessarily undertakes.
