This volume contains most of the papers given at a colloquium held at the Institute in 1997. It provides a study of the concept of composition in European art and art literature from the middle ages to the early twentieth century. Some authors are concerned to show the extent to which writers on art before 1880 would have been able to think of a work of art in the terms put forward by modernist theorists like Maurice Denis, Wassily Kandinsky and Clement Greenberg, as a flat surface, covered with colours, lines and forms arranged in an aesthetically pleasing way. Other authors aim to show how artists and theorists conceived of composition before the modern period, by describing some of the implications and connotations of the concept within a broader field of political and religious meanings. Contents Athene Reiss - Pictorial Composition in Medieval Art. Charles Hope - 'Composition' from Cennini and Alberti to Vasari François Quiviger - Imagining and Composing Stories in the Renaissance. Philip Sohm - Baroque Piles and Other Decompositions. Thomas Frangenberg - Andrea Pozzo on the Ceiling Paintings in S. Ignazio. Colette Nativel - La Théorie de la composition dans le De pictura veterum de Franciscus Junius: Une transition entre Alberti et l'Académie. Thomas Puttfarken - Composition, Disposition and Ordonnance in French Seventeenth-century Writings on Art. Paul Taylor - Composition in Seventeenth-century Dutch Art Theory. Harry Mount - Reynolds, Chiaroscuro and Composition. Richard Wrigley - The Politics of Composition: Reflection on Jacques Louis David's Serment du Jeu de paume. Hubert Locher - Towards a Science of Art: the Concept of 'Pure Composition' in Nineteenth- and Twentieth- century Art Theory.
With this book, Emmelyn Butterfield-Rosen brings a new formal and conceptual rubric to the study of turn-of-the-century modernism, transforming our understanding of the era’s canonical works.
V, Italian Fifteenth- to Seventeenth-Century Drawings, New York, The Metropolitan Museum of Art - Princeton, Princeton University Press, 1991 Foscari, Lodovico, “Autorittrati di maestri della scuola veneziana”, Rivisita della città di ...
This book reconsiders the origin of Italian Renaissance and Baroque cloud compositions while including the theatrical tradition as one of their most important sources.
... a rose has no teeth " means . After all , as Wittgenstein says , where would the teeth on a rose be located ? The sentence appears to be making a claim , but it is not at all clear what exactly that claim is . Nauman's A Rose Has No Teeth ...
This book is highly illustrated so as to make its points extremely clear. It should appeal to anyone with an interest in art.
1668 C.-A. du Fresnoy, De arte graphica, Paris 1668. See Du Fresnoy 2005, pp. 37, 39, 77, 78, 81, 83–85, 225, 227–8, 242–3, and 251–2 (full list of references on page 556). See also the remark in the 1722 Dutch translation (below).
The housewares and furnishings that we know most about belonged to the merchant and noble classes and date to between the 13th and 15th centuries, when population growth, economic stability, expanded trade, and urbanization led to the ...
37: 1.15 Princeton Art Gallery: 9.13a, 9.13b Princeton University Art Museum: 3.8 Reinach 1909–12: 3.2a Egisto Sani: 3.11 Scholten 1929, 1: fig. 93: 7.11 Ben Schultz: 13.5 Serlio 1584: 12.28 Shutterstock: 7.1 Peter J. Sieger: ...
“New Philology and Old French.” Speculum 65 (1990): 38-58. Blodgett, James E. “William Thynne.” In Editing Chaucer: The Great Tradition, edited by Paul G. Ruggiers, 35-52. Norman, OK: Pilgrim Books, 1984. Bloom, Harold.
... art-historical approach to Reynolds's Discourses', The British Journal ofAesthetics 16 (1976), pp. 354–66. Mount, Harry, 'Reynolds, chiaroscuro and composition', in Pictorial Composition from Medieval to Modern Art, Paul Taylor and ...