Picture Titles
How and Why Western Paintings Acquired Their Names
(Sprache: Englisch)
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...
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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 Davids Oath of the Horatii and works by Turner, Courbet, Whistler, Magritte, and Jasper Johns.
Autoren-Porträt von Ruth Bernard Yeazell
Ruth Bernard Yeazell is the Chace Family Professor of English and director of the Lewis Walpole Library at Yale University. Her books include Harems of the Mind: Passages of Western Art and Literature and Art of the Everyday: Dutch Painting and the Realist Novel (Princeton).
Bibliographische Angaben
- Autor: Ruth Bernard Yeazell
- 2015, 352 Seiten, 124 Abbildungen, Maße: 16,7 x 24,4 cm, Gebunden, Englisch
- Verlag: Princeton University Press
- ISBN-10: 0691165270
- ISBN-13: 9780691165271
Sprache:
Englisch
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