In Art and the Committed Eye Richard Leppert examines Western European and American art from the fifteenth to the twentieth century. He studies the complex relation between the "look" of images and the variety of social and cultural uses to which they are put and demonstrates that the meaning of any image is significantly determined by its function, which changes over time. In particular, he emphasizes the ways in which visual culture is called on to mediate social differences defined by gender, class, and race. In , Leppert addresses the nature and task of representation, discussing how meaning accrues to images and what role vision and visuality play in the history of modernity. Here he explains imagery's power to attract our gaze by triggering desire and focuses on the long history of the use of representation to enact a deception, whether in painting or advertising. explores art's relation to the material world, to the ways in which images mark our various physical and psychic ties to objects. The author analyzes still life paintings whose subject matter is both extraordinarily diverse and deeply paradoxical—from flower bouquets to grotesque formal arrangements of human body parts. Leppert demonstrates that even in "innocent" still lifes, formal design and technical execution are imbued with cultural conflict and social power. is devoted to the representation of the human body—as subject to obsessive gazing and as an object of display, spectacle, and transgression. The variety of body representation is enormous: pleased or tortured, gorgeous or monstrous, modest or lascivious, powerful or weak, in the bloom of life or under the anatomist's knife, clothed or naked. But it is the sexual body, Leppert shows, that has provided the West with its richest, most complex, contradictory, conflicted, and paradoxical accounts of human identity in relation to social ideals.
Blue Book of Art Values: Artists & Their Works from Around the World
Peter Jennings and Todd Brewster, The Century (New York: Doubleday, 1998), 154. 8. Time-Life Editors, This Fabulous Century, Vol. IV, 23. 9.
Offers a selection of eighty-seven full-color reproductions of Timberlake's paintings, with an introduction by the painter
THE FERRELL BROTHERS, WILBUR AND WARREN , in their own words "were not known as singular artists but a duo." Wilbur began his career as a motion picture ...
Adelson, Warren, “John Singer Sargent and the 'New Painting,'” in Stanley Olson, Warren Adelson, and Richard Ormond, Sargent at Broadway: The Impressionist ...
This is a rich undiscovered history—a history replete with competing art departments, dynastic scenic families, and origins stretching back to the films of Méliès, Edison, Sennett, Chaplin, and Fairbanks.
Through careful research, Carol Gibson-Wood exposes the mythology surrounding the Morellian method, especially the mythology of the coherence and primacy of his method of attribution. She argues that it “could also be said that Berenson ...
Gibson translates from the Phoenician: “Beware! Behold, there is disaster for you ... !” (SSI 3, no. 5=KAI nr. 2). Examples from Cyprus include SSI 3, no. 12=KAI nr. 30. Gibson's translation of the Phoenician reads (SSI 3, ...
Examines the emergence of abstract organic forms and their assimilation into the popular arts and culture of American life from 1940-1960, covering advertising, decorative arts, commercial design, and the fine arts.
... S. Newman ACCOUNTING Christopher Nobes ADAM SMITH Christopher J. Berry ADOLESCENCE Peter K. Smith ADVERTISING ... ALGEBRA Peter M. Higgins AMERICAN CULTURAL HISTORY Eric Avila AMERICAN HISTORY Paul S. Boyer AMERICAN IMMIGRATION ...