A history of the reception of Chinese painting from the
sixteenth century to the present What is Chinese painting?
When did it begin? And what are the different associations of this
term in China and ...the West? In Chinese Painting and Its
Audiences , which is based on the A. W. Mellon Lectures in the
Fine Arts given at the National Gallery of Art, leading art
historian Craig Clunas draws from a wealth of artistic masterpieces
and lesser-known pictures, some of them discussed here in English
for the first time, to show how Chinese painting has been
understood by a range of audiences over five centuries, from the
Ming Dynasty to today. Chinese Painting and Its Audiences
demonstrates that viewers in China and beyond have irrevocably
shaped this great artistic tradition. Arguing that audiences within
China were crucially important to the evolution of Chinese
painting, Clunas considers how Chinese artists have imagined the
reception of their own work. By examining paintings that depict
people looking at paintings, he introduces readers to ideal types
of viewers: the scholar, the gentleman, the merchant, the nation,
and the people. In discussing the changing audiences for Chinese
art, Clunas emphasizes that the diversity and quantity of images in
Chinese culture make it impossible to generalize definitively about
what constitutes Chinese painting. Exploring the complex
relationships between works of art and those who look at them,
Chinese Painting and Its Audiences sheds new light on how
the concept of Chinese painting has been formed and reformed over
hundreds of years. Published in association with the Center for
Advanced Study in the Visual Arts, National Gallery of Art,
Washington, DC Please note: All images in this ebook are presented
in black and white and have been reduced in size.
One of the twentieth century's most influential texts on
philosophical aesthetics Painting as an Art is
acclaimed philosopher Richard Wollheim's encompassing vision of how
to view art. Transcending ...the traditional boundaries of art
history, Wollheim draws on his three great passions-philosophy,
psychology, and art-to present an illuminating theory of the very
experience of art. He shows how to unlock the meaning of a painting
by retrieving-almost reenacting-the creative activity that produced
it. In order to fully appreciate a work of art, Wollheim argues,
critics must bring a much richer conception of human psychology
than they have in the past. This classic book points the way to
discovering what is most profound and subtle about paintings by
major artists such as Titian, Bellini, and de Kooning.
A study on the technique of painting through cross-analysis of literary texts by Leonardo, Vasari, Armenini, Borghini, Lomazzo and works of art, examining some significant paintings in the ...Capodimonte Museum, Naples.
Although Americans have shown interest in Italian Baroque art since the eighteenth century—Thomas Jefferson bought copies of works by Salvator Rosa and Guido Reni for his art gallery at ...Monticello, and the seventeenth-century Bolognese school was admired by painters Benjamin West and John Singleton Copley—a widespread appetite for it only took hold in the early to mid-twentieth century. Buying Baroque tells this history through the personalities involved and the culture of collecting in the United States.
The distinguished contributors to this volume examine the dealers, auction houses, and commercial galleries that provided access to Baroque paintings, as well as the collectors, curators, and museum directors who acquired and shaped American perceptions about these works, including Charles Eliot Norton, John W. Ringling, A. Everett Austin Jr., and Samuel H. Kress. These essays explore aesthetic trends and influences to show why Americans developed an increasingly sophisticated taste for Baroque art between the late eighteenth century and the 1920s, and they trace the fervent peak of interest during the 1950s and 1960s.
A wide-ranging, in-depth look at the collecting of seventeenth- and eighteenth-century Italian paintings in America, this volume sheds new light on the cultural conditions that led collectors to value Baroque art and the significant effects of their efforts on America’s greatest museums and galleries.
In addition to the editor, contributors include Andrea Bayer, Virginia Brilliant, Andria Derstine, Marco Grassi, Ian Kennedy, J. Patrice Marandel, Pablo Pérez d’Ors, Richard E. Spear, and Eric M. Zafran.
Examining the vivid, often apocalyptic church murals of Peru from the early colonial period through the nineteenth century, Heaven, Hell, and Everything in Between explores the sociopolitical ...situation represented by the artists who generated these murals for rural parishes. Arguing that the murals were embedded in complex networks of trade, commerce, and the exchange of ideas between the Andes and Europe, Ananda Cohen Suarez also considers the ways in which artists and viewers worked through difficult questions of envisioning sacredness.This study brings to light the fact that, unlike the murals of New Spain, the murals of the Andes possess few direct visual connections to a pre-Columbian painting tradition; the Incas' preference for abstracted motifs created a problem for visually translating Catholic doctrine to indigenous congregations, as the Spaniards were unable to read Inca visual culture. Nevertheless, as Cohen Suarez demonstrates, colonial murals of the Andes can be seen as a reformulation of a long-standing artistic practice of adorning architectural spaces with images that command power and contemplation. Drawing on extensive secondary and archival sources, including account books from the churches, as well as on colonial Spanish texts, Cohen Suarez urges us to see the murals not merely as decoration or as tools of missionaries but as visual archives of the complex negotiations among empire, communities, and individuals.
Aristotle's Difference Georgievska-Shine, Aneta
Journal of Historians of Netherlandish Art,
02/2024, Volume:
16, Issue:
1
Journal Article
Peer reviewed
Open access
This essay revisits one of the most acclaimed paintings of Rembrandt van Rijn's later years, Aristotle with the Bust of Homer (1654; The Metropolitan Museum of Art). The painter's approach to the ...subject of this work owes much to visual precedents and to the reception of Aristotle among early modern men of letters, including within the intellectual circles of seventeenth-century Holland. The unusual appearance of the philosopher, which has often led to conflicting interpretations, becomes much clearer when considered against the long-standing perception of his cultural "otherness." The stance and gesture of this Aristotle not only affirm his identity but point to key aspects of his epistemology, focusing on the role of touch as the first step toward knowledge.
A Curious Case of Neglect Reynaerts, Jenny
The Rijksmuseum bulletin,
12/2023, Volume:
71, Issue:
4
Journal Article
Peer reviewed
Open access
The 'Van Lynden Collection' comprises forty-four paintings that were hung in the Lyndenstein country house in Beetsterzwaag by Baron van Lynden (1827-1896) and his mother Cornelia van Borcharen ...(1789-1864), and forty-six paintings purchased from 1860 onwards, when the baron married Maria Catharina, Baroness van Pallandt (1834-1905), for their residence in The Hague. The baroness's involvement is not mentioned in archival documents because of women's legal incapacity at the time. The article corrects this by referring to the Van Lynden-Van Pallandt Collection and discussing the history of all the works. Lyndenstein was home to an almost encyclopaedic selection of finely painted works by Dutch Romantic artists to which Van Lynden, when a young man, added paintings from exhibitions of Living Artists that mostly had already received awards. Louwrens Hanedoes, himself a painter and a relative, might have mediated and represented the baron in purchasing. In their Hague residence, Van Lynden and Van Pallandt hung modern French works painted in a loose or even sketchy manner. These were acquired during visits they made together to sales and galleries in Paris and through their commercial relationship with Goupil & Cie (from 1884 Boussod, Valadon & Cie) and the firm of Wisselingh & Co, both with branches in the Netherlands. The collection from Lyndenstein arrived in the Rijksmuseum in 1899; in 1900 it was followed by the Hague collection, which had also been bequeathed but was then donated by Baroness van Pallandt during her lifetime. It was not possible to keep the Van Lynden-Van Pallandt Collection together because of the rapid expansion of the collection of late nineteenth-century paintings, the changing appreciation of modern art and the nationalist preference for Dutch art in general and the Hague School in particular, and long-term loans to other institutions. A number of the French masterpieces were not hung permanently until after the Rijksmuseum had been renovated (2013).
In his painting and book project, Totems of Uganda: Buganda Edition (2014), Ugandan artist Taga Nuwagaba asks: What is the function of a totem? In Buganda, the historical kingdom in current-day ...Uganda, totems serve as unique identifiers for fifty-two distinct patrilineal descent groups designated as clans, or ebika in the Luganda language, forming the primary scheme of social and political organization. Yet, totems also serve as a conservation practice. In this 2022 interview, Nuwagaba discussed his art and the evidence he relies upon to create his images, demonstrating that identities and knowledges are complex.
Current Chinese policies consider tradition as the starting point for a new Chinese Renaissance. To meet contemporary, political and ecological needs, China rediscovers the millenary aesthetic of ...water and landscape, starting from its renowned philosophers, artists and gardens designers. Water’s central role in culture spans philosophical, religious and artistical fields. Since the origin of Chinese culture, renowned philosophers have associated water flow to the perfect political and moral vision. The wiseman considers water as the excellent behavioral model, in harmony with natural principles; water is indeed the mean to reach the Dao. In China, since the first studies on landscape painting, water has perfectly blended with the aesthetic vision of the landscape, becoming an integral part of it. Water exists in relation to its flowing and to its surroundings, becoming part of the landscape, not as a separated, independent element, but as a fundamental constituent.
Community McNeil, Lora
Art therapy,
01/2022, Volume:
39, Issue:
4
Journal Article
Peer reviewed
Lora McNeil, RCAT, RTC, BFA, is a Registered Canadian Art Therapist practicing within the unceded territory of Tla-o-qui-aht First Nations, Tofino, BC, Canada.
