A new edition of the classic biography of artist Paul Cezanne, the most complete, fully illustrated survey of the artist's life available, containing 118 color and 152 black-and-white illustrations.
People rely on reason to think about and navigate the abstract world of human relations in much the same way they rely on maps to study and traverse the physical world. Starting from that simple observation, renowned geographer Gunnar Olsson offers in Abysmal an astonishingly erudite critique of the way human thought and action have become deeply immersed in the rhetoric of cartography and how this cartographic reasoning allows the powerful to map out other people’s lives. A spectacular reading of Western philosophy, religion, and mythology that draws on early maps and atlases, Plato, Kant, and Wittgenstein, Thomas Pynchon, Gilgamesh, and Marcel Duchamp, Abysmal is itself a minimalist guide to the terrain of Western culture. Olsson roams widely but always returns to the problems inherent in reason, to question the outdated assumptions and fixed ideas that thinking cartographically entails. A work of ambition, scope, and sharp wit, Abysmal will appeal to an eclectic audience—to geographers and cartographers, but also to anyone interested in the history of ideas, culture, and art.
Hundreds of detailed illustrations depict painted pilasters from Pompeii, early Gothic stone carvings, a detail from a stained glass window in Canterbury Cathedral, more. Over 700 black-and-white illustrations, 16 plates of photographs.
Great artist experiments with tonal effects, light, mass, other qualities in over 100 drawings. A revealing view of developing master painter, precursor of Cubism. 102 black-and-white illustrations.
In the footsteps of Andre Bazin, this anthology of 15 original essays argues that the photographic origin of twentieth-century cinema is anti-anthropocentric. Well aware that the twentieth century stands out as the only period in history with its own photographic film record for posterity, Angela Dalle Vacche has convened international scholars at The Sterling and Francine Clark Art Institute, and asked them to rethink the history and theory of the cinema as a new model for the museum of the future. By exploring the art historical tropes of face and landscape, and key areas of film studies such as early cinema, Soviet film theory, documentary, the avant-garde and the newly-born genre of the museum film, this collection includes detailed discussions of installation art, and close analyses of media relations which range from dance to painting to performance art. Thanks to the title of Andre Malraux's famous project, Film, Art, New Media: Museum Without Walls? invites readers to reflect on the museum of the future, where twentieth-century cinema will play a pivotal role by interrogating the relation between art and science, technology and nature, from the side of photography in dialogue with digitalization.
This one-volume edition contains both text and plates and includes corrections in the text and bibliography made since the books publication in 1987. There are concise monographic chapters on the important artists and movements of the period, with material on each artists life and work, characteristics of style, and the relationship of the artistic movements to historical and intellectual currents of the time. The author covers a wide range of material and his presentation is lucid and perceptive. Neoclassicism, Romanticism, Realism, Academics and Salon Painters, and Impressionism are covered, and the following artists are included: David, Gros, Girodet, Grard, Gurin, Prudhon, Goya, Fuseli, Blake, Runge, Friedrich, Turner, Constable, Igres, Gricault, Delacroix, Corot, Rousseau, Daumier, Millet, Courbet, Manet, Degas, Monet, Renoir, Sisley, Pissarro, and Czanne.
In this fascinating text Gunnar Olsson tells the story of an arkographer, who with Pallas Athene’s blessings, travels down the Red River Valley, navigates the Kantian Island of Truth, and takes a house-tour through the Crystal Palace, the latter edifice an imagination grown out of Gunnael Jensson’s sculpture Mappa Mundi Universalis. This travel story carries the arkographer from the oldest creation epics extant to the power struggles of today—nothing less than a codification of the taken-for-granted, a mapping of the no-man’s-land between the five senses of the body and the sixth sense of culture. By constantly asking how we are made so obedient and predictable, the explorer searches for the present-day counterparts to the biblical ark, the chest that held the commandments and the rules of behavior that came with them—hence the term “arkography,” a word hinting at an as-yet-unrecognized discipline. In Arkography Olsson strips bare the governing techniques of self-declared authorities, including those of the God of the Old Testament and countless dictators, the latter supported by a horde of lackeys often disguised as elected representatives and governmental functionaries. From beginning to end, Arkography is an illustration of how every creation epic is a variation on the theme of chaos turning into cosmic order. A palimpsest of layered meanings, a play of things and relations, identity and difference. One and many, you and me.