Author: Mr. Christie (James)Publisher:
ISBN:
Category :
Languages : en
Pages : 16
Book Description
A Catalogue of a Genuine and Capital Collection of Pictures, the Property of a Gentleman, the Greater Part of which Have Been Lately Brought from Italy, ... Consisting of Some of the First Works of ... Titian, Polidore, L. Da Vinci, Bassan, ... Cuyp, Berghem, Both, &c. ... Which Will be Sold by Auction by Mr. Christie, ... on Monday, May the 26th, 1800, ...
Author: Mr. Christie (James)A Catalogue of Books
Author: Henry George BOHNPublisher:
ISBN:
Category : Publishers' catalogs
Languages : en
Pages : 594
Book Description
Manuscripts, Upon Papyrus, Vellum, and Paper, in Various Languages
Author: Thorpe, Thomas, firm, booksellers, LondonPublisher:
ISBN:
Category : Books
Languages : en
Pages : 1468
Book Description
Catalogue
Author: Bernard Quaritch (Firm)Publisher:
ISBN:
Category : Antiquarian booksellers
Languages : en
Pages : 556
Book Description
A Catalogue of Valuable New and Second-hand Books
Author: Willis and SotheranPublisher:
ISBN:
Category : Booksellers' catalogs
Languages : en
Pages : 368
Book Description
The Athenæum
Author: Catalogue
Author: Maggs BrosPublisher:
ISBN:
Category : Booksellers' catalogs
Languages : en
Pages : 536
Book Description
Picture Titles
Author: Ruth Bernard YeazellPublisher: Princeton University Press
ISBN: 1400873460
Category : Art
Languages : en
Pages : 365
Book Description
How the practice of titling paintings has shaped their reception throughout modern history A picture's title is often our first guide to understanding the image. Yet paintings didn’t always have titles, and many canvases acquired their names from curators, dealers, and printmakers—not the artists. Taking an original, historical look at how Western paintings were named, Picture Titles shows how the practice developed in response to the conditions of the modern art world and how titles have shaped the reception of artwork from the time of Bruegel and Rembrandt to the present. Ruth Bernard Yeazell begins the story with the decline of patronage and the rise of the art market in the seventeenth and eighteenth centuries, as the increasing circulation of pictures and the democratization of the viewing public generated the need for a shorthand by which to identify works at a far remove from their creation. The spread of literacy both encouraged the practice of titling pictures and aroused new anxieties about relations between word and image, including fears that reading was taking the place of looking. Yeazell demonstrates that most titles composed before the nineteenth century were the work of middlemen, and even today many artists rely on others to name their pictures. A painter who wants a title to stick, Yeazell argues, must engage in an act of aggressive authorship. She investigates prominent cases, such as David’s Oath of the Horatii and works by Turner, Courbet, Whistler, Magritte, and Jasper Johns. Examining Western painting from the Renaissance to the present day, Picture Titles sheds new light on the ways that we interpret and appreciate visual art.
Author: Andrew White Tuer
Author: