Synopses & Reviews
Today serial imagery dominates all forms of visual media, from advertising to conceptual sculpture. In this innovative project, the authors show that the phenomenon of repetition appears as a radical element in early modern painting, long before its embrace by 20th-century high modernism.
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In works by Ingres, Delaroche, Gand#233;rand#244;me, Corot, Millet, Monet, Cand#233;zanne, Degas, and Matisse, the reader can compare closely related versions of some of the most familiar imagery of the 19th and early 20th centuries. By making multiples of closely related subject matter in their paintings, the authors argue, these painters challenged an aesthetic based on the notion of an inimitable, unique masterpiece.
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Through beautiful illustrations and essays by leading scholars, this book ultimately shows how the 19th-century invention of photography and filmand#151;with their intrinsic attributes of repetitionand#151;did not diminish the traditional medium of painting but rather propelled it in new directions.
Synopsis
An authoritative and elegant study of the theme of repetition in early modern painting
Today serial imagery dominates all forms of visual media, from advertising to conceptual sculpture. In this innovative project, the authors show that the phenomenon of repetition appears as a radical element in early modern painting, long before its embrace by 20th-century high modernism. In works by Ingres, Delaroche, G r me, Corot, Millet, Monet, C zanne, Degas, and Matisse, the reader can compare closely related versions of some of the most familiar imagery of the 19th and early 20th centuries. By making multiples of closely related subject matter in their paintings, the authors argue, these painters challenged an aesthetic based on the notion of an inimitable, unique masterpiece. Through beautiful illustrations and essays by leading scholars, this book ultimately shows how the 19th-century invention of photography and film--with their intrinsic attributes of repetition--did not diminish the traditional medium of painting but rather propelled it in new directions.
Synopsis
This is the first publication to consider painting as an essential and sustained practice for Landaacute;szlandoacute; Moholy-Nagyandrsquo;s career-long exploration of the relationships between art and technology.
Synopsis
Landaacute;szlandoacute; Moholy-Nagy (1895andndash;1946) became notorious for the declarations he made about the end of painting, encouraging artists to exchange brush, pigment, and canvas for camera, film, and searchlight. Even as he made these radical claims, he painted throughout his career. The practice of painting enabled Moholy-Nagy to imagine generative relationships between art and technology, and to describe the shape that future possibilities might take. Joyce Tsai illuminates the evolution of paintingandrsquo;s role for Moholy-Nagy through key periods in his career: at the German Bauhaus in the 1920s, in the Netherlands and the United Kingdom in the early 1930s, and as director of the New Bauhaus in Chicago in the last decade of his life.and#160;The book also includes an introduction to the history, qualities, and significance of plastic materials that Moholy-Nagy used over the course of his career, and an essay on how his project of shaping habitable space in his art and writing resonated with artists and industrial designers in the 1960s and 1970s.and#160;
About the Author
Eik Kahng is curator of 18th- and 19th-century art at the Walters Art Museum. Stephen Bann is professor of the history of art at the University of Bristol. Simon Kelly is associate curator of European painting and sculpture at the Nelson-Atkins Museum, Kansas City. Richard Shiff is Chair in Art and directs the Center for the Study of Modernism at the University of Texas, Austin. Charles F. Stuckey is a specialist in Impressionist and modern art. Jeffrey Weiss is director of the Dia Art Foundation.