Painting History And Meaning

This compelling new study considers contemporary painting’s relationship with time and with events, ideas and paintings from the past. Following French philosopher Jean-François Lyotard’s determination of painting as entailing a series of temporal sites, Painting, History and Meaning examines works that tendentiously engage with aspects and events derived from the past. A unique examination of the relationship that contemporary painting has with history and historical material, Painting, History and Meaning is a timely response to, and discussion of, how contemporary painters and artists have addressed a significant area of concern for both practitioners and theorists in recent years. Craig Staff explores art that has encompassed strategies of excavation, anachronism and memorialization, examining key works by artists including Dana Schutz, Tomma Abts, Gerhard Richter, Marlene Dumas, Johannes Phokela and Taus Makhacheva. A scholarly examination of contemporary painting through an innovative interdisciplinary research methodology, this fascinating study illuminates the complex relationship between painting and history. Primary readership will be the fine art academic community, art and painting practitioners, scholars and academics. Will appeal to second and third year undergraduate and postgraduate students of fine art and art history. Of interest to students of cultural studies, history, curatorial studies and continental philosophy, and to those in the visual arts wanting to develop their understanding of contemporary art.

Bridging the fields of conservation, art history, and museum curating, this volume contains the principal papers from an international symposium titled "Historical Painting Techniques, Materials, and Studio Practice" at the University of Leiden in Amsterdam, Netherlands, from June 26 to 29, 1995. The symposium—designed for art historians, conservators, conservation scientists, and museum curators worldwide—was organized by the Department of Art History at the University of Leiden and the Art History Department of the Central Research Laboratory for Objects of Art and Science in Amsterdam. Twenty-five contributors representing museums and conservation institutions throughout the world provide recent research on historical painting techniques, including wall painting and polychrome sculpture. Topics cover the latest art historical research and scientific analyses of original techniques and materials, as well as historical sources, such as medieval treatises and descriptions of painting techniques in historical literature. Chapters include the painting methods of Rembrandt and Vermeer, Dutch 17th-century landscape painting, wall paintings in English churches, Chinese paintings on paper and canvas, and Tibetan thangkas. Color plates and black-and-white photographs illustrate works from the Middle Ages to the 20th century.

Introduction to Art: Design, Context, and Meaning offers a deep insight and comprehension of the world of Art. Contents: What is Art? The Structure of Art Significance of Materials Used in Art Describing Art - Formal Analysis, Types, and Styles of Art Meaning in Art - Socio-Cultural Contexts, Symbolism, and Iconography Connecting Art to Our Lives Form in Architecture Art and Identity Art and Power Art and Ritual Life - Symbolism of Space and Ritual Objects, Mortality, and Immortality Art and Ethics

An exploration of the portrait art of Jean Auguste Dominique Ingres, focusing on his studio practice and his training of students.

Writing in "Before the Image, Before Time: The Sovereignty of Anachronism," (2003) Georges Didi-Huberman identifies three discrete temporalities at work within a fresco painted by Fra Angelico for the San Marco convent in Florence during the 1440s. In the first instance, he observes that the painting's trompe l'oeil frame stems from what would have been the prevalent mimetic style during the period within which the fresco was painted and in this respect, is "euchronistic" or of its time. However, the fresco also betrays "anachronistic" qualities through its so-called "mnemonic" use of colour. Finally, and as Didi-Huberman notes, "the dissimilitudo, the dissemblance at work in this pointed surface goes back even further." Evidently then, both the production and subsequent interpretation of painting entails if not is foregrounded by multiple layers of chronology, tense and time. Such an admission is coincident with both a renewed interest in painting's relationship to its past and more broadly art's relationship with time. According to Laura Hoptman, writing in the exhibition catalogue that accompanied The Forever Now: Contemporary Painting in an Atemporal World at MoMA in 2015, "what attracts artists to painting at a time when digital technology offers seemingly limitless options with less art-historical baggage is precisely its art historical baggage..." Moreover, in Visual Time: The Image in History, Keith Moxey has recently asked "where and when is the time in the history of art?" Against a backdrop of artistic practices that are characteristic of the so-called "historiographic turn," an approach to art making that has encompassed strategies of excavation, re-enactment and memorialization but as such have notably been to the exclusion of painting, Sites of Time: Painting, History and Meaning seeks to examine painting's relationship with time and with events, ideas and paintings derived from the past. Following Jean-Francois Lyotard's determination of painting as entailing a series of temporal sites, the proposed study will examine key works by artists including Luc Tuymans, Gerald Byrne, Alison Watt, Marlene Dumas, Genieve Figgis, Wang Xingwei and Dexter Dalwood. Necessarily moving beyond the appropriationist strategies of postmodernism with its proclivity to quote from and tendentiously juxtapose elements that were historically or culturally remote, what the proposed study will evince is that through its engagement with history and historical materials, time as it is given within the context of contemporary painting is multi-directional, heterogeneous and resoundingly non-linear.

How do we see the world around us? The Penguin on Design series includes the works of creative thinkers whose writings on art, design and the media have changed our vision forever. "Seeing comes before words. The child looks and recognizes before it can speak." "But there is also another sense in which seeing comes before words. It is seeing which establishes our place in the surrounding world; we explain that world with words, but word can never undo the fact that we are surrounded by it. The relation between what we see and what we know is never settled." John Berger's Ways of Seeing is one of the most stimulating and influential books on art in any language. First published in 1972, it was based on the BBC television series about which the (London) Sunday Times critic commented: "This is an eye-opener in more ways than one: by concentrating on how we look at paintings . . . he will almost certainly change the way you look at pictures." By now he has.