Imitation Artist
Imitation Artist

Author: Sunny Stalter-Pace

Publisher: Northwestern University Press

Published: 2020-05-15

Total Pages: 350

ISBN-13: 0810141930

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Gertrude Hoffmann made her name in the early twentieth century as an imitator, copying highbrow performances staged in Europe and popularizing them for a broader American audience. Born in San Francisco, Hoffmann started working as a ballet girl in pantomime spectacles during the Gay Nineties. She performed through the heyday of vaudeville and later taught dancers and choreographed nightclub revues. After her career ended, she reflected on how vaudeville’s history was represented in film and television. Drawn from extensive archival research, Imitation Artist shows how Hoffmann’s life intersected with those of central gures in twentieth-century popular culture and dance, including Florenz Ziegfeld, George M. Cohan, Isadora Duncan, and Ruth St. Denis. Sunny Stalter-Pace discusses the ways in which Hoffmann navigated the complexities of performing gender, race, and national identity at the dawn of contemporary celebrity culture. This book is essential reading for those interested in the history of theater and dance, modernism, women’s history, and copyright.

Imitation Artist
Imitation Artist

Author: Sunny Stalter-Pace

Publisher: Northwestern University Press

Published: 2020-05-15

Total Pages: 0

ISBN-13: 9780810141926

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Gertrude Hoffmann made her name in the early twentieth century as an imitator, copying highbrow performances staged in Europe and popularizing them for a broader American audience. Born in San Francisco, Hoffmann started working as a ballet girl in pantomime spectacles during the Gay Nineties. She performed through the heyday of vaudeville and later taught dancers and choreographed nightclub revues. After her career ended, she reflected on how vaudeville’s history was represented in film and television. Drawn from extensive archival research, Imitation Artist shows how Hoffmann’s life intersected with those of central gures in twentieth-century popular culture and dance, including Florenz Ziegfeld, George M. Cohan, Isadora Duncan, and Ruth St. Denis. Sunny Stalter-Pace discusses the ways in which Hoffmann navigated the complexities of performing gender, race, and national identity at the dawn of contemporary celebrity culture. This book is essential reading for those interested in the history of theater and dance, modernism, women’s history, and copyright.

Origins, Imitation, Conventions
Origins, Imitation, Conventions

Author: James S. Ackerman

Publisher: MIT Press

Published: 2002-03-29

Total Pages: 356

ISBN-13: 9780262011860

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Twelve studies by eminent art historian James S. Ackerman. This collection contains studies written by art historian James Ackerman over the past decade. Whereas Ackerman's earlier work assumed a development of the arts as they responded to social, economic, political, and cultural change, his recent work reflects the poststructural critique of the presumption of progress that characterized Renaissance and modernist history and criticism. In this book he explores the tension between the authority of the past—which may act not only as a restraint but as a challenge and stimulus—and the potentially liberating gift of invention. He examines the ways in which artists and writers on art have related to ancestors and to established modes of representation, as well as to contemporary experiences. The "origins" studied here include the earliest art history and criticism; the beginnings of architectural drawing in the Middle Ages and Renaissance; Leonardo Da Vinci's sketches for churches, the first in the Renaissance to propose supporting domes on sculpted walls and piers; and the first architectural photographs. "Imitation" refers to artistic achievements that in part depended on the imitation of forms established in practices outside the fine arts, such as ancient Roman rhetoric and print media. "Conventions," like language, facilitate communication between the artist and viewer, but are both more universal (understood across cultures) and more fixed (resisting variation that might diminish their clarity). The three categories are closely linked throughout the book, as most acts of representation partake to some degree of all three.

Imitation and Illusion
Imitation and Illusion

Author: Ingrid Geelen

Publisher: Royal Institute for Cultural Heritage

Published: 2011

Total Pages: 0

ISBN-13: 9782930054117

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In the late Middle Ages luxurious textiles were among the most highly prized indicators of status and wealth and an essential requirement of prestigious secular and ecclesiastical life. The depiction of these sumptuous silks and gold brocades was a crucial element in the visual arts, and their realistic and recognizable representation was a challenge to every artist. Painters and polychromers strove to imitate the fashionable fabrics by using applied brocade, a highly sophisticated form of relief decoration that adhered to panel paintings, murals and sculpture and through the play of light and shadow evoked the dazzling illusion of gold-brocaded cloths. Imitation and Illusion is the result of a detailed study of applied brocade in the art of the Low Countries. Eleven fascinating and innovative chapters offer an in-depth examination of the historical, geographical, morphological and technical aspects of this cast tin relief technique. New light is also shed on artistic collaboration and workshop practice in the fifteenth and early sixteenth century. The catalogue includes 86 well known and lesser known panel and wall paintings, sculptures, altarpieces, and architectural elements produced between 1420 and 1540, decorated with applied brocade and providing stunning testimony to the visual variety and material magnificence of late-medieval art. Abundantly illustrated, Imitation and Illusion investigates the artistic production of the fifteenth- and sixteenth-century Low Countries from an intriguing and original perspective. It represents a significant contribution to our understanding of medieval polychromy and will appeal to everyone whose curiosity is aroused by the illusionistic ingenuity of the medieval artist.

Theorizing Imitation in the Visual Arts
Theorizing Imitation in the Visual Arts

Author: Paul Duro

Publisher: John Wiley & Sons

Published: 2016-01-19

Total Pages: 240

ISBN-13: 1119004039

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The theory and practice of imitation has long been central to the construction of art and yet imitation is still frequently confused with copying. Theorizing Imitation in the Visual Arts challenges this prejudice by revealing the ubiquity of the practice across cultures and geographical borders. This fascinating collection of original essays has been compiled by a group of leading scholars Challenges the prejudice of imitation in art by bringing to bear a perspective that reveals the ubiquity of the practice of imitation across cultural and geographical borders Brings light to a broad range of areas, some of which have been little researched in the past

Imitation and Education
Imitation and Education

Author: Bryan R. Warnick

Publisher: SUNY Press

Published: 2009-01-08

Total Pages: 184

ISBN-13: 9780791474280

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Brings together current research in philosophy, cognitive science, and education to uncover and criticize the traditional assumptions of how and why we should learn through imitation.

The Challenge of Emulation in Art and Architecture
The Challenge of Emulation in Art and Architecture

Author: Professor David Mayernik

Publisher: Ashgate Publishing, Ltd.

Published: 2013-12-28

Total Pages: 453

ISBN-13: 1472407520

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Emulation is a challenging middle ground between imitation and invention. The idea of rivaling by means of imitation, as old as the Aenead and as modern as Michelangelo, fit neither the pessimistic deference of the neoclassicists nor the revolutionary spirit of the Romantics. Emulation thus disappeared along with the Renaissance humanist tradition, but it is slowly being recovered in the scholarship of Roman art. It remains to recover emulation for the Renaissance itself, and to revivify it for modern practice. Mayernik argues that it was the absence of a coherent understanding of emulation that fostered the fissuring of artistic production in the later eighteenth century into those devoted to copying the past and those interested in continual novelty, a situation solidified over the course of the nineteenth century and mostly taken for granted today. This book is a unique contribution to our understanding of the historical phenomenon of emulation, and perhaps more importantly a timely argument for its value to contemporary practice.