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236 pages : illustrations ; 24 cm.
  • The pyramid and the triangle
  • The landscape and the icon
  • The city, the map, space.
Today, we believe that the map is a copy of the Earth, without realizing that the opposite is true: in our culture the Earth has assumed the form of a map. In Blinding Polyphemus, Franco Farinelli elucidates the philosophical correlation between cultural evolution and shifting cartographies of modern society, giving readers an interdisciplinary study that attempts to understand and redefine the fundamental structures of cartography, architecture, and the notion of "space." Following the lessons of nineteenth-century critical German geography, this is a manual of geography without any map. To indicate where things are means already responding, in implicit and unreflective ways, to prior questions about their nature. Blinding Polyphemus not only takes account of the present state of the Earth and of human geography, it redefines the principal models we possess for the description of the world: the map, above all, as well as the landscape, subject, place, city, and space.
(source: Nielsen Book Data)9780857423788 20180806
Art & Architecture Library (Bowes)
xiv, 298 pages : illustrations (some color) ; 30 cm
  • Acknowledgments xiiIntroduction 31 BOUCHER'S TACT 8Materiality and Personality 9Touch and Tact 13The Commercial Imagination 22Personal Mythologies 33The Promiscuous Self 47The Artist as Consumer 73Pompadour's Painter 802 CHARDIN'S CRAFT 86Deep Materiality 87The Object (Inside/Out) 95The Blind Touch 111Underneath the Visible 123The Subject 139The Return to the Object 155The Painter 1653 FRAGONARD'S SEDUCTION 176Eros and Individuality 177The Unseen 186Being and Becoming 191Pictorial Seduction 199The Erotic Mother 203The Artist's Pleasure 208The Painter's Touch 212Love and Life 223Ars Erotica 236Notes 238Bibliography 271Index 287Image Credits 297.
  • (source: Nielsen Book Data)9780691170121 20180205
A new interpretation of the development of artistic modernity in eighteenth-century France The Painter's Touch is a radical reinterpretation of three paradigmatic French painters of the eighteenth century. In this beautifully illustrated book, Ewa Lajer-Burcharth provides close readings of the works of Francois Boucher, Jean-Simeon Chardin, and Jean-Honore Fragonard, entirely recasting our understanding of these painters' practice. Using the notion of touch, she examines the implications of their strategic investment in materiality and sheds light on the distinct contribution of painting to the culture of the Enlightenment. Lajer-Burcharth traces how the distinct logic of these painters' work--the operation of surface in Boucher, the deep materiality of Chardin, and the dynamic morphological structure in Fragonard--contributed to the formation of artistic identity. Through the notion of touch, she repositions these painters in the artistic culture of their time, shifting attention from institutions such as the academy and the Salon to the realms of the market, the medium, and the body. Lajer-Burcharth analyzes Boucher's commercial tact, Chardin's interiorized craft, and Fragonard's materialization of eros. Foregrounding the question of experience--that of the painters and of the people they represent--she shows how painting as a medium contributed to the Enlightenment's discourse on the self in both its individual and social functions. By examining what paintings actually "say" in brushstrokes, texture, and paint, The Painter's Touch transforms our understanding of the role of painting in the emergence of modernity and provides new readings of some of the most important and beloved works of art of the era.
(source: Nielsen Book Data)9780691170121 20180205
Art & Architecture Library (Bowes)
xiv, 412 pages : illustrations (chiefly color) ; 29 cm.
Art & Architecture Library (Bowes)
630 pages : illustrations ; 25 cm
  • Part 1: The Nothingness of All Things
  • 1. Present by Default
  • 2. Mystical Seduction
  • 3. Dreaming, Music, Ocean
  • 4. Homo Viator
  • Part 2:
  • Understanding Through Fiction
  • 5. Prayer, Writing, Politics
  • 6. How to Write Sensible Experience, or, of Water as the Fiction of Touch
  • 7. The Imaginary of an Unfindable Sense Curled Into a God Findable in Me
  • Part 3:
  • The Wanderer
  • 8. Everything So Constrained Me
  • 9. Her Lovesickness
  • 10. The ideal father and the Host
  • Part 4: Extreme Letters, Extremes of Being
  • 11. Bombs and Ramparts
  • 12. "Cristo como hombre"
  • 13. Image, Vision, and Rapture
  • 14. "The soul isn't in possession of its senses, but it rejoices"
  • 15. A Clinical Lucidity
  • 16. The Minx and the Sage
  • 17. Better to Hide . . .?
  • 18. ". . . Or 'to do what lies within my power' "?
  • 19. From Hell to Foundation
  • Part 5:
  • From Ecstasy to Action
  • 20. The Great Tide
  • 21. Saint Joseph, the Virgin Mary, and His Majesty
  • 22. The Maternal Vocation
  • 23. Constituting Time
  • 24. Tutti a cavallo
  • Part 6: Foundation-Persecution
  • 25. The Mystic and the Jester
  • 26. A Father Is Beaten to Death
  • 27. A Runaway Girl
  • 28. "Give me trials, Lord; give me persecutions"
  • 29. "With the ears of the soul"
  • Part 7:
  • Dialogues from Beyond the Grave
  • 30. Act I. Her Women
  • 31. Act II. Her Eliseus
  • 32. Act III: Her "Little Seneca"
  • 33. Act IV. The Analyst's Farewell
  • Part 8:
  • Postscript
  • 34. Letter to Denis Diderot on the Infinitesimal Subversion of a Nun.
Mixing fiction, history, psychoanalysis, and personal fantasy, Teresa, My Love turns a past world into a modern marvel, following Sylvia Leclercq, a French psychoanalyst, academic, and incurable insomniac, as she falls for the sixteenth-century Saint Teresa of Avila and becomes consumed with charting her life. Traveling to Spain, Leclercq, Julia Kristeva's probing alter ego, visits the sites and embodiments of the famous mystic and awakens to her own desire for faith, connection, and rebellion. One of Kristeva's most passionate and transporting works, Teresa, My Love interchanges biography, autobiography, analysis, dramatic dialogue, musical scores, and images of paintings and sculpture to engage the reader in Leclercq's-and Kristeva's-journey. Born in 1515, Teresa of Avila outwitted the Spanish Inquisition and was a key reformer of the Carmelite Order. Her experience of ecstasy, which she intimately described in her writings, released her from her body and led to a complete realization of her consciousness, a state Kristeva explores in relation to present-day political failures, religious fundamentalism, and cultural malaise. Incorporating notes from her own psychoanalytic practice, as well as literary and philosophical references, Kristeva builds a fascinating dual diagnosis of contemporary society and the individual psyche while sharing unprecedented insights into her own character.
(source: Nielsen Book Data)9780231149600 20180530
Art & Architecture Library (Bowes)
1 vol. (351 p.) : ill. en noir et en coul., couv. ill. en coul. ; 29 cm
Art & Architecture Library (Bowes)
viii, 252 p., [12] p. of plates : ill. (some col.) ; 29 cm.
Between life and the art that imitates it is a vague, more shadowy category: images that exist autonomously. Pygmalion's mythical sculpture, which magnanimous gods endowed with life after he fell in love with it, marks perhaps the first such instance in Western art history of an image that exists on its own terms, rather than simply imitating something (or someone) else. In "The Pygmalion Effect", Victor I. Stoichita delivers this living image - as well as its many avatars over the centuries - from the long shadow cast by art that merely replicates reality.Stoichita traces the reverberations of Ovid's founding myth from ancient times through the advent of cinema. Emphasizing its erotic origins, he locates echoes of this famous fable in everything from legendary incarnations of Helen of Troy to surrealist painting to photographs of both sculpture and people artfully posed to simulate statues. But it was only with the invention of moving pictures, Stoichita argues, that the modern age found a fitting embodiment of the Pygmalion story's influence. Concluding with an analysis of Alfred Hitchcock films that focuses on Kim Novak's double persona in Vertigo, "The Pygmalion Effect" illuminates the fluctuating connections that link aesthetics, magic, and technical skill. In the process, it sheds new light on a mysterious world of living artifacts that, until now, has occupied a dark and little-understood realm in the history of Western image making.
(source: Nielsen Book Data)9780226775210 20160528
Art & Architecture Library (Bowes)
viii, 402 p. : ill. (some col.) ; 27 cm.
  • Introduction. Placing the gods
  • Pt. 1. The studiolo and its histories. The study, the collection, and the Renaissance self
  • Myth and the articulation of gender and space
  • Isabella's "cupidity" : collecting and literary production
  • Pt. 2. The paintings. Mantegna's Mars and Venus : poetry, natural history, and the origins of art
  • Mantegna's mythic signatures : Pallas and the vices
  • Tanta amorosa impresa : Isabella, Perugino, and Paride da Ceresara
  • Lorenzo Costa's coronation of a woman poet and the Renaissance of Sappho
  • "Sweet counterfeiting and blandishments" : courtiership, urbanitas, and Costa's Comus
  • "Dominate the stars" Correggio, the Gonzaga, and the sack of Rome
  • Conclusion. The rise of mythological painting in sixteenth-century Italy.
The Renaissance studiolo was a space devoted in theory to private reading and contemplation, but at the Italian courts of the fifteenth century, it had become a space of luxury, as much devoted to displaying the taste and culture of its occupant as to studious withdrawal. The most famous studiolo of all was that of Isabella d'Este, marchioness of Mantua (1474-1539), the core of a series of rooms housing the owner's collection of antiquities, natural curiosities and modern works of art. A chief component of its decoration was a series of seven paintings by some of the most noteworthy artists of the time, including Andrea Mantegna, Pietro Perugino, Lorenzo Costa and Correggio, which encapsulated the principles of an emerging Renaissance artistic genre - the mythological image. Using these paintings as an exemplary case, and by drawing on other important examples made by Giorgione in Venice and by Titian and Michelangelo for the Duke of Ferrara, Stephen Campbell explores the function of the mythological image within a Renaissance culture of readers and collectors. Painted fables and allegories addressed some of the dilemmas and controversies, arising from the reading of profane literature and the accumulation of works of pagan art. They prompted the viewer to reflect on the nature of reading itself, on the status of pagan or profane literature in a modern Christian society, and on the value of both art and literature in the cultivation of the self. Campbell shows that the paintings presented their viewers with the opportunity to engage in a type of intellectual therapy, by depicting or even activating emotional states ordinarily held at bay, and by encouraging beholders to engage in imaginative acts of reading. Above all, the viewer was drawn towards an understanding of unsettling forces that undermined the maintenance of a self - the perturbations brought about by living in a violent and unsettled world, and those that menaced the self from within: passion, sexuality, anxiety, despondency. The accommodation of Eros is the central concern of these mythological works, ambivalently viewed as both the source of individual subjectivity and its refinement, and equally of its alienating displacements. Showing the continuity of these themes with works of contemporary literature produced in the circle of the same readers and collectors, Campbell argues that the nature of mythology in Renaissance culture needs to be rethought, and questions the validity of hermetic, Neoplatonic and didactic paradigms for its understanding.
(source: Nielsen Book Data)9780300117530 20160527
Art & Architecture Library (Bowes)
xiii, 303 p. : ill. ; 26 cm.
In eighteenth-century France, the ability to "lose oneself" in a character or scene marked both great artists and ideal spectators. Yet it was also thought this same passionate enthusiasm, if taken to unreasonable extremes, could lead to sexual deviance, mental illness, and even death. Women and artists were seen as especially susceptible to these negative consequences of creative enthusiasm - and women artists doubly so. Mary D. Sheriff uses these very different visions of artistic enthusiasm to explore the complex interrelationships among creativity, sexuality, the body, and the mind in eighteenth-century France. Drawing on evidence from the visual arts, literature, philosophy, and medicine, she scrutinizes the different forms of deviance ascribed to male and female artists. Sheriff also demonstrates that the perceived connections among sexuality, creativity, and disease also opened artistic opportunities for women - and creative women took full advantage of them.
(source: Nielsen Book Data)9780226752877 20160528
Art & Architecture Library (Bowes)
288 p. : ill. (some col.) ; 29 cm.
Art & Architecture Library (Bowes)
190 p. : ill. (chiefly col.) ; 29 cm.
  • Raphael Biography from the Portrait Point of View / Claudio Strinati
  • Difficulty/ease and studied casualness in the work of Raphael / Pierluigi De Vecchi
  • Raphael's Vision of Women / Konrad Oberhuber
  • The Workshop of Grace / Daniel Arasse
  • La Fornarina. Biography of a Painting / Lorenza Mochi Onori
  • Oil Paintings
  • Drawings.
Art & Architecture Library (Bowes)
xxx, 532 pages ; 20 cm.
  • Family history
  • My first memory
  • Journey to Padua
  • My grandmother boards me at the home of Doctor Gozzi
  • My first acquaintance with love
  • Bettina believed to be mad
  • Father Mancia
  • The pox
  • I leave Padua
  • The patriarch of Venice confers the minor orders on me
  • Getting to know Senator Malipiero, Teresa Imer, Father Tosello's niece, Signora Orio, Nanetta, Marta, and La Cavamacchie
  • I become a preacher
  • My adventure at Pasiano with Lucia
  • My brief but highly eventful visit to Ancona
  • Cecilia, Marina, Bellino
  • The Greek slave girl from the lazaretto
  • Bellino revealed
  • Bellino Unmasked
  • His Story
  • Comic encounter at Orsara
  • Journey to Corfu
  • Sojourn in Constantinople
  • Bonneval
  • My return to Corfu
  • I become a true good-for-nothing
  • A great stroke of luck raises me from destitution to the rank of wealthy gentleman
  • My apprenticeship in Paris
  • Portraits
  • Oddities
  • A thousand things
  • My blunders in the French language, my successes, my many acquaintances
  • Louis XV
  • My brother arrives in Paris
  • My sojourn in Vienna
  • Joseph II
  • My departure for Venice
  • First meeting with M.M.
  • Letter from C.C. Second meeting with the nun in my superb casino in Venice
  • I am happy
  • Continuation of the preceding chapter
  • Visit to the convent and conversation with M.M.
  • Her letter to me and my answer
  • Rendezvous at the casino in Murano, witnessed by her lover
  • Under the lead roof
  • The earthquake
  • Soradaci's betrayal
  • The means I used to overwhelm him
  • Father Balbi succeeds in his task
  • I leave my cell
  • Count Asquini's untimely remarks
  • The moment of departure
  • My escape from the prison
  • I nearly lose my life on the roof
  • I leave the Ducal Palace, take ship and reach the mainland
  • Father Balbi exposes me to danger
  • The ruse by which I separate from him for the moment
  • Voltaire, my discussions with the great man
  • Ariosto
  • The duke of Villars
  • The syndic and his three lovely ladies
  • Debate at Voltaire's house
  • Cardinal Passionei
  • The pope
  • Mariuccia
  • My arrival in Naples
  • I reach Marseilles
  • Mme. D'Urfe
  • My niece is well received by Mme. Audibert
  • I get rid of my brother and Passano
  • Regeneration
  • Mme. d'Urfe departs
  • Marcolina's constancy
  • My arrival in London
  • Mrs. Cornelys
  • I am presented at Court
  • I rent a furnished house
  • I meet many people
  • The customs of the English
  • Lord Keith
  • Appointment with the king of Prussia in the garden of Sans Souci
  • My conversation with the monarch
  • La Denis
  • The Pomeranian cadets
  • I meet the czarina
  • My conversations with the great Sovereign
  • La Valville
  • I leave Zaira
  • My departure from St. Petersburg and arrival in Warsaw
  • Princes Adam Czartoryski and Sulkowski
  • The king of Poland, Stanislaus Poniatowski, called Stanislaus Augustus I
  • Theatrical intrigues
  • Branicki
  • My duel with Branicki
  • My departure from Paris
  • My journey to Madrid
  • The count of Aranda
  • The prince of La Catolica
  • The duke of Losada
  • Mengs
  • A ball
  • La Pichona
  • Dona Ignacia
  • My courtship of Dona Ignacia, the gentleman-cobbler's daughter
  • My imprisonment at Buen Retiro and my triumph
  • I am recommended to the Venetian ambassador by a State Inquisitor of the Republic.
Seducer, gambler, necromancer, swindler, swashbuckler, poet, self-made gentleman, bon vivant, Giacomo Casanova was not only the most notorious lover of the Western world, but a supreme story teller. He lived a life stranger than most fictions, and the tale of his own adventures is his most compelling story, and one that remained unfinished at the time of his death. This new selection contains all the highlights of Casanova's life: his youth in Venice as a precocious ecclesiastic; his dabbling in the occult; his imprisonment and thrilling escape; and his amorous conquests, ranging from noblewomen to nuns.
(source: Nielsen Book Data)9780140439151 20180730
Art & Architecture Library (Bowes)
176 p. : col. ill. ; 29 cm.
  • Love's lost relics-- love's looks-- love's gifts-- love's places-- love's signs-- love's goal-- love's decay and love's renaissance.
  • (source: Nielsen Book Data)9781856691420 20160527
Presents the visual tradition of medieval secular images associated with the theme of love, from its origins in the South of France in the 12th century to its transformation during the Italian Renaissance.
(source: Nielsen Book Data)9781856691420 20160527
Art & Architecture Library (Bowes)
264 p. : ill. (some col.) ; 24 cm.
An investigation into the meaning and symbolism of the shadow, drawing on painting, literature, photography and film, from Plato to Andy Warhol and advertising images.
(source: Nielsen Book Data)9781861890009 20160528
Art & Architecture Library (Bowes)
xiii, 168 p. : ill. ; 24 cm.
  • Introduction Rona Goffen-- 1. Titian, Ovid, and sixteenth-century codes for erotic illustration Carlo Ginzburg-- 2. So and so reclining on her couch David Rosand-- 3. Sex, space, and social history in Titian's Venus of Urbino Rona Goffen-- 4. The Venus of Urbino, or the archetype of a glance Daniel Arasse-- 5. Veiling the Venus of Urbino Mary Pardo-- 6. Olympia's choice T. J. Clark-- Bibliography-- Index.
  • (source: Nielsen Book Data)9780521449007 20160528
Arguably the quintessential work of the High Renaissance in Venice, Titian's Venus of Urbino also represents one of the major themes of western art: the female nude. But how did Titian intend this work to be received? Is she Venus, as the popular title - a modern invention - implies; or is she merely a courtesan? This book tackles this and other questions in six essays by European and American art historians. Examining the work within the context of Renaissance art theory, as well as the psychology and society of sixteenth-century Italy, and even in relation to Manet's nineteenth-century 'translation' of the work, their observations begin and end with the painting itself, and with appreciation of Titian's great achievement in creating this archetypal image of feminine beauty.
(source: Nielsen Book Data)9780521449007 20160528
Art & Architecture Library (Bowes)
viii, 417 p. : ill. ; 24 cm.
Steinberg argues in this work that the artists regarded the deliberate exposure of Christ's genitalia as an affirmation of kinship with the human condition. Christ's lifelong virginity, understood as potency under check, and the first offer of blood in the circumcision, both required acknowledgment of the genital organ. More than exercises in realism, these unabashed images underscore the crucial theological import of the Incarnation.
(source: Nielsen Book Data)9780226771878 20160528
Art & Architecture Library (Bowes)
ix, 118 p. : ill. ; 24 cm.
  • Foreword Hubert Damisch Introduction 1: The Fonseca Chapel 2: The Albertoni Chapel 3: The Altar of Sant' Andrea al Quirinale Conclusion: Flights of Love Notes Index.
  • (source: Nielsen Book Data)9780226092737 20160528
This text explores three of Bernini's baroque chapels to show how Bernini achieved his effects. Careri examines the ways in which the artist integrated the disparate forms of architecture, painting and sculpture into a coherant space for devotion, and then shows how this accomplishment was understood by religious practitioners. In the Fonseca Chapel, the Albertoni Chapel and the church of Saint Andrea al Quirinale, all in Rome, Careri identifies three types of ensemble and links each to a particular spiritual journey. Using contemporary theories in anthropology, film and reception aesthetics, he shows how Bernini's formal mechanisms established an emotional dynamic between the beholder and a specific arrangement of forms.
(source: Nielsen Book Data)9780226092737 20160528
Art & Architecture Library (Bowes)
234 p.
  • Part 1: Le Brun's Complete Theory of Expression-- Charles Le Brun, Painter of Expression-- The Tradition of Expression in the Other Arts-- The Tradition of Expression in the Visual Arts-- The Academy-- Acceptance and Rejection. Part 2: Le Brun's Lecture on Expression-- Le Brun's Lecture on Expression - Translation. Appendices: The Date and Reception of the Lecture-- The Drawings-- The Sources-- Testelin's Text of Expression-- Claude Nivelon's Account of the "Ouvrage sur la Physionomie"-- editions, versions and derivations.
  • (source: Nielsen Book Data)9780300058918 20160528
In 1688, Charles Le Brun, a French academician, delivered a lecture on expression that was so popular it was published in sixty-three separate editions and influenced all on of the subject throughout Europe for over a century. This book reconstructs and translates the text of the lecture, explores the context in which it was conceived, delivered, received, and finally rejected, and reproduces the images that accompanied the lecture. Jennifer Montagu shows that Le Brun's theory of expression covered more than just the facial expression of the passions. It was, in fact, based on the psycho-physiological theories of Descartes and included both a recognition of the expressive potential of colour and landscape setting and also a highly sophisticated physiognomic system. Montagu examines Le Brun's detailed instructions on how to evoke expression in the light of modern psychological investigations of our ability to recognize facial expressions and the particular problems posed by static images of what is essentially, a movement of the muscles. She compares Le Brun's lecture to earlier writings on expression, from Socrates through Igonardo, and to theories of expression elaborated for other arts, such as rhetoric, music, drama, and the dance. She also explores the popularity of the lecture until the 19th century, when anatomists and naturalists began to look anew at the problem of expression. Appendices examine such questions as the exact date of the lecture and list all known editions.
(source: Nielsen Book Data)9780300058918 20160528
Art & Architecture Library (Bowes)
xix, 163 p. : ill. ; 24 cm.
Art & Architecture Library (Bowes)
391 p.
  • Foreword by Catharine R. Stimpson Acknowledgments Introduction 1: Satirizing the Courtesan: Franco's Enemies 2: Fashioning the Honest Courtesan: Franco's Patrons Appendix: Two Testaments and a Tax Report 3: Addressing Venice: Franco's Familiar Letters 4: Denouncing the Courtesan: Franco's Inquisition Trial and Poetic Debate Appendix: Documents of the Inquisition 5: The Courtesan in Exile: An Elegiac Future Notes Works Cited Index.
  • (source: Nielsen Book Data)9780226728124 20160528
The Venetian courtesan has long captured the imagination as a female symbol of sexual license, elegance, beauty, and unruliness. What then to make of the "cortigiana onesta" - the honest courtesan who recast virtue as intellectual integrity and offered wit and refinement in return for patronage and a place in public life? Veronica Franco (1546-1591) was such a woman, a writer and citizen of Venice, whose published poems and familiar letters offer rich testimony to the complexity of the honest courtesan's position. Margaret F. Rosenthal draws a compelling portrait of Veronica Franco in her cultural social, and economic world. Rosenthal reveals in Franco's writing a passionate support of defenseless women, strong convictions about inequality, and, in the eroticized language of her epistolary verses, the seductive political nature of all poetic contests. It is Veronica Franco's insight into the power conflicts between men and women - and her awareness of the threat she posed to her male contemporaries - that makes her literary works and her dealings with Venetian intellectuals so pertinent today. Combining the resources of biography, history, literary theory, and cultural criticism, this interdisciplinary work presents an eloquent and often moving account of one woman's life as an act of self-creation and as a complex response to social forces and cultural conditions.
(source: Nielsen Book Data)9780226728124 20160528
Art & Architecture Library (Bowes)
173 p.
An interpretation of Botticelli's painting which relates it closely to works of poetry by Lorenzo, Politian and Pulci. The author suggests how the idea of love as portrayed by Botticelli incorporates the actual cultural renovation imagined and sponsored by Lorenzo the Magnificent.
(source: Nielsen Book Data)9780691032078 20160528
Art & Architecture Library (Bowes)