語系:
繁體中文
English
說明(常見問題)
圖資館首頁
登入
回首頁
到查詢結果
[ author_sort:"yeazell, ruth bernard." ]
切換:
標籤
|
MARC模式
|
ISBD
Picture titleshow and why western pa...
~
Yeazell, Ruth Bernard.
Picture titleshow and why western paintings acquired their names /
紀錄類型:
書目-電子資源 : Monograph/item
正題名/作者:
Picture titlesRuth Bernard Yeazell.
其他題名:
how and why western paintings acquired their names /
作者:
Yeazell, Ruth Bernard.
出版者:
Princeton, New Jersey :Princeton University Press,2015.
面頁冊數:
1 online resource (365 p.)
標題:
Titles of works of art.
電子資源:
click for full text
ISBN:
1400873460
Picture titleshow and why western paintings acquired their names /
Yeazell, Ruth Bernard.
Picture titles
how and why western paintings acquired their names /[electronic resource] :Ruth Bernard Yeazell. - Princeton, New Jersey :Princeton University Press,2015. - 1 online resource (365 p.)
Includes bibliographical references and index.
Picture titles: how and why western paintings acquired their names -- Contents -- Illustrations -- Prologue (This is not a title) -- I: Naming and Circulating: Middlemen -- 1. Before Titles -- 2. Dealers and Notaries -- 3. Early Cataloguers -- 4. Academies -- 5. Printmakers -- 6. Curators, Critics, Friends-and More Dealers -- II: Reading and Interpreting: Viewers -- 7. Reading by the Title -- 8. The Power of a Name -- 9. Many Can Read Print -- 10. Reading against the Title -- III: Authoring as Well as Painting: Artists -- 11. The Force of David's Oath -- 12. Turner's Poetic Fallacies -- 13. Courbet's Studio as Manifesto -- 14. Whistler's Symphonies and Other Instructive Arrangements -- 15. Magritte and the Use of Words -- 16. Johns's No and the Painted Word -- Acknowledgments -- Notes -- Index.
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.
ISBN: 1400873460Subjects--Topical Terms:
842691
Titles of works of art.
LC Class. No.: N7560
Dewey Class. No.: 702.8
Picture titleshow and why western paintings acquired their names /
LDR
:03191nmm a2200241 i 4500
001
559510
006
m o d
007
cr cn|||||||||
008
191226s2015 nju ob 000 0 eng d
020
$a
1400873460
020
$a
9780691165271
020
$a
9781400873463
035
$a
PUPB0003695
040
$a
iG Publishing
$b
eng
$e
aacr2
$c
iG Publishing
041
0
$a
eng
050
0 0
$a
N7560
082
0 4
$a
702.8
100
1
$a
Yeazell, Ruth Bernard.
$3
244105
245
1 0
$a
Picture titles
$h
[electronic resource] :
$b
how and why western paintings acquired their names /
$c
Ruth Bernard Yeazell.
260
$a
Princeton, New Jersey :
$b
Princeton University Press,
$c
2015.
300
$a
1 online resource (365 p.)
504
$a
Includes bibliographical references and index.
505
0
$a
Picture titles: how and why western paintings acquired their names -- Contents -- Illustrations -- Prologue (This is not a title) -- I: Naming and Circulating: Middlemen -- 1. Before Titles -- 2. Dealers and Notaries -- 3. Early Cataloguers -- 4. Academies -- 5. Printmakers -- 6. Curators, Critics, Friends-and More Dealers -- II: Reading and Interpreting: Viewers -- 7. Reading by the Title -- 8. The Power of a Name -- 9. Many Can Read Print -- 10. Reading against the Title -- III: Authoring as Well as Painting: Artists -- 11. The Force of David's Oath -- 12. Turner's Poetic Fallacies -- 13. Courbet's Studio as Manifesto -- 14. Whistler's Symphonies and Other Instructive Arrangements -- 15. Magritte and the Use of Words -- 16. Johns's No and the Painted Word -- Acknowledgments -- Notes -- Index.
520
3
$a
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.
650
0
$a
Titles of works of art.
$3
842691
650
0
$a
Painting.
$3
233690
856
4 0
$u
http://portal.igpublish.com/iglibrary/search/PUPB0003695.html
$z
click for full text
筆 0 讀者評論
全部
電子館藏
館藏
1 筆 • 頁數 1 •
1
條碼號
館藏地
館藏流通類別
資料類型
索書號
使用類型
借閱狀態
預約狀態
備註欄
附件
000000171746
電子館藏
1圖書
電子書
EB N7560 2015
一般使用(Normal)
在架
0
1 筆 • 頁數 1 •
1
多媒體
多媒體檔案
http://portal.igpublish.com/iglibrary/search/PUPB0003695.html
評論
新增評論
分享你的心得
Export
取書館別
處理中
...
變更密碼
登入