A reappraisal of the position and work of women artists from the Middle Ages to the present. It examines the way in which women's work has been perceived in the history of Western art - often in direct reference to gender - and re-examines the works themselves.
Daily life in ancient Egypt was, according to Karol Mysliwiec, saturated with eroticism and much influenced by cult and magic as well. Ancient Egyptian religion, with its variety of gods living, feeling, and reacting much like mortals, he says, is a valuable index of human lifestyles of the day. Eros on the Nile, which has more than a hundred illustrations, including nineteen in full color, addresses selected facets of the erotic concepts and practices of the ancient Egyptians, as recorded in art and literature; it also includes some recent archaeological discoveries by the author and his colleagues. Mysliwiec presents his theory about one of the most intriguing, mysterious hieroglyphic signs, representing a male face with female coloration. Mysliwiec examines the cult of the king and his relationship to the gods as reflected in a legend depicting the royal child as the fruit of a relationship between a god and an earthly woman. He discusses in detail the special religious and political role of royal women, which found expression in the institution of the "gods wife" and describes and illustrates sexual episodes depicted in the "Turin Papyrus," a unique document dating from the times of the New Kingdom (2nd Millennium B.C.E.). Contrasting with the somewhat brutal naturalism of these scenes is the subtle sensuality of Ancient Egyptian love poetry, excerpts from which are quoted in the book.
This is the first of four books in the Open University series Art of the Twentieth Century. The opening chapter discusses key concepts such as modernity, modernism, autonomy, spectatorship and globalisation. It is followed by four case studies, each of which is devoted to a specific work of art chosen from across the span of the century: Marcel Duchamp's Bottlerack, Barnett Newman's Eve, Ana Mendieta's Silueta series, and Yarla by the Australian Aboriginal Yuendumu community. These works have been selected not only for their intrinsic interest, but for the way in which they open up wider questions of meaning and interpretation that are central to understanding 20th-century art. issues and debates about art and its place in the wide culture today. Topics include the relation of the modernist mainstream to later postmodernist standpoints, the status of the art object, the development of a fully abstract art, the role of gender and identity in the expanding field of art and the globalisation of art practice.
From the critically acclaimed and bestselling author of Son of the Morning Star and Deus Lo Volt , a biography that breaks the mold-recounting with stunning immediacy the dark genius behind the renowned Spanish painter. Enigmatic, compelling, darkly brilliant and casually masterful in turn, Francisco Goya changed art forever, although the nature of his influence has been widely interpreted. Degas, for one, lamented that because of Goya he was condemned to painting a housewife in her bathtub. During the vile days of the Spanish Inquisition, Goya painted royalty, street urchins and demons with the same brush, bringing his own distinctive touch to each. This unusual man and his ghastly times are the perfect subject for Evan S. Connell, one of our greatest and least conventional writers. This unorthodox biography shines with wit, erudition and prodigious research. To say Connell is intimate with his subject is an understatement: He seems to be inside Goya's famously impenetrable skin. In a colloquial, wry style, Connell introduces a wealth of detail and a comic cast of weird and eccentric characters-dukes, queens and artists-as lewd and incorrigible a group as history has ever produced
Working Space affords a rare opportunity to view painting from the inside out, through the eyes of one of the world's most prominent abstract painters. Frank Stella describes his perception of other artists' work, as well as his own, in this handsomely illustrated volume.
Stella uses the crisis of representational art in sixteenth-century Italy to illuminate the crisis of abstraction in our time. The artists who followed Leonardo, Michelangelo, Raphael, and Titian searched for new directions to advance their work from beneath the shadow of these great painters. Caravaggio pointed the way. So today, Stella believes, the successors to Picasso, Kandinsky, and Pollock must seek a pictorial space as potent as the one Caravaggio developed at the beginning of the seventeenth century. Stella sees Caravaggio as the pivot on whom painting turns, his consummate illusionism prompting the advance of a more flexible, more "real" space that allows painting to move and breathe, to suggest extension and unrestricted motion. Following Caravaggio, Rubens' broad vision of fullness and active volume gave painting a momentum that helped propel it into the nineteenth century, where it came to rest in the genius of G ricault and Manet, themselves the precursors of modern painting.
Unfortunately, both contemporary abstract art and figurative painting have become trapped by ambiguous pictorial space and by a misguided emphasis on materiality (pigment for pigment's sake). Pictorial qualities have given way to illustrational techniques. Abstract art has become verbal, defensive, and critical, caught up in theology masquerading as theory. Stella asserts that painting must understand its past, make use of the lucid realism of seventeenth-century Italy, and absorb a Mediterranean physicality to reinforce the lean spirituality of northern abstraction pioneered by Mondrian and Malevich. Working Space will provoke discussion and argument, not least because Stella offers nontraditional evaluations of the works of giants such as Raphael, Titian, Michelangelo, Picasso, and Pollock, as well as lesser-known figures including Annibale Carracci, Paulus Potter, and Morris Louis. The artist's powers of discernment and the profusion of his ideas and opinions will dazzle and engage professionals, amateurs, and students of art.
For five centuries, Leonardo da Vinci has stood alone as the quintessential Renaissance manathe incomparable artist, writer, thinker, and inventor who most powerfully transformed his world. In this dazzling new intimate biography, award-winning author Charles Nicholl creates a portrait of the artist for our timeaa biography that brings Leonardo to life as a complex man living in a fascinating, dangerous, quickly changing world.
Drawing freely on his own original translations of Leonardoas notebooks as well as newly discovered contemporary accounts, Nicholl captures the very texture of Leonardoas mind and the pungent visceral impressions he transmuted into art. Detail by brilliant detail, Nicholl reconstructs the life and times of the artist, from his troubled childhood as the illegitimate son of an established Tuscan family to his years of apprenticeship in the burgeoning art world of Medici Florence to his unrivaled achievements in a breathtaking array of disciplines and media. Here, too, are compelling new answers to the enduring mysteries of Leonardoas sexual orientation, the true identity of the Mona Lisa, and the early experiences that inspired his lifelong obsession with human flight.
A writer of irresistible charm and quicksilver imagination, Nicholl takes us from the backstreet artistsa studios of Florence to the glittering palazzi of the Medici, Sforza, and Borgia families as he pursues the most extravagantly talented and maddeningly elusive artist of all time. The result is a biography of rare grace and penetration.
The story of one of the most famous statues in history is fully told here, from the unearthing of the statue in 1820 through quibbles among the French, Germans, and Turks, over who should possess her.
In this prescient and beautifully written book, Booker Prize-winning author John Berger examines the life and work of Ernst Neizvestny, a Russian sculptor whose exclusion from the ranks of officially approved Soviet artists left him laboring in enforced obscurity to realize his monumental and very public vision of art. But Berger's impassioned account goes well beyond the specific dilemma of the pre-glasnot Russian artist to illuminate the very meaning of revolutionary art. In his struggle against official orthodoxy--which involved a face-to-face confrontation with Khruschev himself--Neizvestny was fighting not for a merely personal or aesthetic vision, but for a recognition of the true social role of art. His sculptures earn a place in the world by reflecting the courage of a whole people, by commemorating, in an age of mass suffering, the resistance and endurance of millions.
"Berger is probably our most perceptive commentator on art.... A civilized and stimulating companion no matter what subject happens to cross his mind."--Philadelphia Inquirer
The life of Cellini is a romping good story which at present exists only in the form of a memoir, read by students and specialists. Derek Parker retells Cellini's life, setting it in the context of the turbulent world of Renaissance Europe. Cellini, famous as sculptor and goldsmith, and patronized by both Francis I of France and the Medici courts of Tuscany, was one of the most picturesque figures of the Renaissance. His adventures, hot temper and tendency to fight, his escapes from prison and amorous escapades among the Florentine and Roman nobility, and his interest in magic, made him a figure of renown in his own time, and beyond.