Konstteori
5 896 produkter
5 896 produkter
- Nyhet
Från van Goghs öra till Mona Lisas leende : livsöden, skandaler och berömda konstverk
Häftad, Svenska, 2026
291 kr
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Var Pablo Picasso inblandad i stölden av Mona Lisa 1911? Vem är världens skickligaste konstförfalskare? Och hur gick det till när Ivar Lo-Johansson skänkte bort en van Gogh-målning? Högt, lågt, tragiskt och komiskt. Följ med i rafflande historier om stölder, förbjudna konstverk, förfalskningar, nazistiska konstutställningar och sanningen om när drottning Kristina lade grunden till Nationalmuseum. I den här boken finns berättelser från både Sverige, Europa och USA, från 1600-tal till nutid om allt det hemliga eller bortglömda i konstvärlden som du kanske aldrig har kommit på att undra över. Från van Goghs öra till Mona Lisas leende: Livsöden, skandaler och berömda konstverk samlar dolda berättelser från västvärldens alla hörn och binder en väv av allt det fördolda, mänskliga och vackra som ligger bakom den konsthistoria vi känner till idag. Göran Hellström, född 1947, har en bakgrund som journalist. Han var redaktör på specialtidskriften Antik & Auktion och arbetade sen som informationschef på Bukowskis. Under många år arbetade han som chefredaktör på tidningen Konstvärlden. 1992 publicerade han boken Det stora konstspelet, skriven tillsammans med Carl-Gustaf Petersén, som sammanfattar konsthaussen i slutet av 1980-talet. Från 2009 har han ställt ut samtidskonst i egna galleriet Vargåkra Gård.
Del 1 - Plundrartrilogin
Plundrarna : hur nazisterna stal Europas konstskatter
Inbunden, Svenska, 2024
309 kr
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2009 tvingades Moderna museet i Stockholm återlämna en tavla av konstnären Emil Nolde efter en uppslitande konflikt. Tavlan hade visat sig härröra från ett brott begånget i Förintelsen skugga – men hur hade målningen hamnat på museet?
Denna händelse utgör startpunkten för Anders Rydells moderna klassiker Plundrarna, som 2014 nominerades till Augustpriset och har utkommit på ett flertal språk.
I början av 1945 avslöjades den största konstkupp som någonsin genomförts. I saltgruvor, förråd, bunkrar, källare och på väggar hemma hos nazistledare återfanns miljontals konstverk och antikviteter, rövade från Europas alla hörn av specialenheter. Där fanns verk av mästare såsom Michelangelo, Rubens, Rembrandt och Vermeer. De allra främsta skulle visas på Adolf Hitlers planerade Führermuseum i Linz.
Hundratusentals konstverk återfann aldrig efter kriget. Plundrarna är berättelsen om hur den försvunna konsten hamnade världens främsta museer. Det är en fängslande historia om nazisternas fanatiska besatthet av konst, men också om offrens kamp för upprättelse.
”Rafflande thriller med satanistiska skildringar av nazisternas osannolika omfattande konststölder och de juridiska och moraliska i vår tid om de återfunna verken. Den här gången kommer Sverige inte undan. Gediget historiskt arbete kombineras med skickligt reportage i högt tempo”
Nominering Augustpriset 2014
"En pionjärgärning"
Antik & Auktion
"Berättelsen flyter fram som en välskriven thriller. (…) Anders Rydell har skrivit en lysande bok."
Sydsvenskan
"En oerhört fängslande bok, skickligt berättad, lärorik, spännande och upprörande."
Norra Skåne
"En detaljerad och spännande skildring om hur denna enorma konststöld organiserades av nazisterna och vilka ideologiska värderingar som låg bakom. En mycket läsvärd och tänkvärd bok."
Tidningen Kulturen
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384 kr
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Detta är en bok om bildtolkning och det intrikata samspelet mellan bild och text i läromedel, faktaböcker och populärkultur. Författaren belyser bildens tysta budskap, det vill säga de normer och värderingar som gestaltas i bilder men förblir okommenterade i texten.I den första upplagan behandlades främst undervisningsbilder och vetenskapliga illustrationer som riktar sig till barn och ung-domar. I den här omarbetade andra upplagan har författaren vidgat perspektivet och diskuterar informationsgrafik, visual management, teknikinformation och instrumentella bilder som en del av den visuella kulturen.Boken vänder sig till studenter vid universitet och högskolor i ämnen som behandlar bild, men även till yrkesverksamma som på något sätt hanterar bild och text i sitt arbete.
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302 kr
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The Times Art Book of the YearA Guardian Book of the YearThe paintings of Johannes Vermeer of Delft are some of the most beautiful, even sublime, in the history of art. Yet like the life of Vermeer himself, they are mysterious and have for centuries defied explanation. Following new leads, and drawing on a mass of historical evidence, some of it freshly uncovered in the archives of Delft and Rotterdam, Andrew Graham-Dixon paints a dramatically new picture of Vermeer, revealing many of the painter’s hitherto unknown friendships as well as his previously undetected allegiance to a radical movement driven underground by persecution.He also vividly evokes the world of the Dutch Republic as it was in its so-called Golden Age. This was a watery world of fortresses and flood plains, taverns rocked by argument and cities stunned by devastating attacks and explosions: all linked by a network of canals where a uniquely efficient public transport system, operated by horse-drawn passenger barge, enabled people, goods and ideas to glide effortlessly from one place to another. The author sets Vermeer firmly in the context of his time, revealing the patterns of patronage that make sense of his work, and also exposing the difficulties posed by his home life, which was dominated by his Jesuit mother-in law and disturbed by the psychotic behaviour of her only son.In the past Vermeer has been imagined as a remote and enigmatic figure, but he emerges from this new account as a man deeply engaged with his own society: well-travelled, a reader of books, a man personally connected to many of the most interesting people of his time, including merchants, philosophers, preachers, bankers and regents, as well as his childhood friend, a philanthropic baker named Hendrick van Buyten. Vermeer was also deeply affected by the struggles that shook his world, the Eighty Years War for Dutch independence and the yet more terrible Thirty Years War, which ravaged the neighbouring German lands and resulted in the deaths of millions. The author shows how he was moved to become a pacifist by such atrocities, and thereafter made many of his closest friends in the ranks of Europe’s first peace movement. A further revelation is that Vermeer’s closest collaborator and chief patron was a woman, as were many others in his immediate circle. These are all previously untold stories.The many piercingly direct descriptions of Vermeer’s pictures, which are the heart of the book, shed new light on the intentions of the artist. Nearly all of his best loved works, Graham-Dixon shows, were originally painted for a single significant location in Delft. In light of such discoveries every one of Vermeer’s major paintings, including The Girl with a Pearl Earring, A View of Delft and The Milkmaid, are reassessed and their meanings rethought. As a result the two great unresolved questions about Vermeer – why did he paint his pictures, and what do they mean? – are persuasively answered here for the first time.
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265 kr
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'Unlock your inner creativity and ease your anxiety' Daily Telegraph'I absolutely love this book' Emma Gannon**THE MULTI-MILLION COPY WORLDWIDE BESTSELLER**Since its first publication, The Artist's Way has inspired the genius of Elizabeth Gilbert, Tim Ferriss, Reese Witherspoon and millions of readers to embark on a creative journey and find a deeper connection to process and purpose. Julia Cameron guides readers in uncovering problems and pressure points that may be restricting their creative flow and offers techniques to open up opportunities for self-growth and self-discovery. A revolutionary programme for personal renewal, The Artist's Way will help get you back on track, rediscover your passions, and take the steps you need to change your life.
229 kr
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Wassily Kandinskys Om det andliga i konsten tillhör 1900-talets viktigaste teoretiska texter om konst. Den skapade ett stort intresse för abstraktion och anknyter trots sin modernism till äldre tiders traktat om måleri. Här presenteras den återigen på svenska, i Ulf Lindes och Sonja Martinssons översättning. Lindes företal, liksom alla Kandinskys träsnitt i inlagan, ingår.
Konstvetaren Annika Öhrner har skrivit ett efterord till utgåvan.
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186 kr
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Why do we need art? What Art Does is an invitation to explore this vital question. It is a chance to understand how art is made by all of us. How it creates communities, opens our worlds, and can transform us.Curious and playful, richly illustrated, full of ideas and life, it is an inspiring call to imagine a different future.
342 kr
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Available for the first time in English: the complete and annotated transcripts of Deleuze’s 1981 seminars on paintingFrom 1970 until 1987, Gilles Deleuze held a weekly seminar at the Experimental University of Vincennes and, starting in 1980, at Saint-Denis. In the spring of 1981, he began a series of eight seminars on painting and its intersections with philosophy. The recorded sessions, newly transcribed and translated into English, are now available in their entirety for the first time. Extensively annotated by philosopher David Lapoujade, On Painting illuminates Deleuze’s thinking on artistic creation, significantly extending the lines of thought in his book Francis Bacon. Through paintings and writing by Rembrandt, Delacroix, Turner, CÉzanne, Van Gogh, Klee, Pollock, and Bacon, Deleuze explores the creative process, from chaos to the pictorial fact. The introduction and use of color feature prominently as Deleuze elaborates on artistic and philosophical concepts such as the diagram, modulation, code, and the digital and the analogical. Through this scrutiny, he raises a series of profound and stimulating questions for his students: How does a painter ward off grayness and attain color? What is a line without contour? Why paint at all? Written and thought in a rhizomatic manner that is thoroughly Deleuzian-strange, powerful, and novel-On Painting traverses both the conception of art history and the possibility of color as a philosophical concept. Retail e-book files for this title are screen-reader friendly with images accompanied by short alt text and/or extended descriptions.
858 kr
858 kr
313 kr
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In this wide-ranging book, renowned philosopher and cultural theorist Peter Sloterdijk examines art in all its rich and varied forms: from music to architecture, light to movement, and design to typography. Moving between the visible and the invisible, the audible and the inaudible, his analyses span the centuries, from ancient civilizations to contemporary Hollywood. With great verve and insight he considers the key issues that have faced thinkers from Aristotle to Adorno, looking at art in its relation to ethics, metaphysics, society, politics, anthropology and the subject.Sloterdijk explores a variety of topics, from the Greco-Roman invention of postcards to the rise of the capitalist art market, from the black boxes and white cubes of modernism to the growth of museums and memorial culture. In doing so, he extends his characteristic method of defamiliarization to transform the way we look at works of art and artistic movements. His bold and original approach leads us away from the well-trodden paths of conventional art history to develop a theory of aesthetics which rejects strict categorization, emphasizing instead the crucial importance of individual subjectivity as a counter to the latent dangers of collective culture.This sustained reflection, at once playful, serious and provocative, goes to the very heart of Sloterdijk’s enduring philosophical preoccupation with the aesthetic. It will be essential reading for students and scholars of philosophy and aesthetics and will appeal to anyone interested in culture and the arts more generally.
167 kr
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The 50th anniversary edition of a classic text, featuring an expanded selection of color studies “The landmark 1963 book by Josef Albers . . . isn’t just for aspiring artists. Its mesmerizing illustrations are a revelation for anyone interested in color theory and human perception.”—Pilar Viladas, New York Times “A visionary work.”—Malcolm Jones, Newsweek Josef Albers’s classic Interaction of Color is a masterwork in art education. Conceived as a handbook and teaching aid for artists, instructors, and students, this influential book presents Albers’s singular explanation of complex color theory principles. Originally published by Yale University Press in 1963 as a limited silkscreen edition with 150 color plates, Interaction of Color first appeared in paperback in 1971, featuring ten color studies chosen by Albers, and has remained in print ever since. With over a quarter of a million copies sold in its various editions since 1963, Interaction of Color remains an essential resource on color, as pioneering today as when Albers created it. Fifty years after Interaction’s initial publication, this anniversary edition presents a significantly expanded selection of close to sixty color studies alongside Albers’s original text, demonstrating such principles as color relativity, intensity, and temperature; vibrating and vanishing boundaries; and the illusion of transparency and reversed grounds. A celebration of the longevity and unique authority of Albers’s contribution, this landmark edition will find new audiences in studios and classrooms around the world.
300 kr
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James Hyde, a practicing painter, presents a radical and historically detailed investigation into how the concept of pictorial space in art emerged.Using primary documents and a selection of images, Hyde exposes what many will find surprising—that space only becomes part of the descriptive apparatus of art and architecture at the turn of the 20th century, not earlier. Remarkably, this is the first critical study of pictorial space as a historical construction. In this retelling of art history, Hyde presents it as a concept bound to historical circumstance, developing —often contentiously—in philosophy, mathematics and science, to finally become common in 20th century theorizations of art. Hyde investigates and identifies the historical moments when space first enters discussions about art and how it originally developed in religion, philosophy, mathematics and science. He shows that only after several key controversies were stabilized that space finally emerged as a topic for visual art at the turn of the 20th century. The stories of these debuts introduce Kant, Poincare and Panofsky, thinkers who provided theories of space that were taken up by artists. They reveal the creative and imaginative ideas that forged the belief that space is essential to understanding art. The ease of applying space to almost any context makes space prevalent today. It is unexamined faith, rather than a clear-eyed understanding of its historical construction that currently anchors space within the discourse of art. Hyde’s original reading of what has become a broad, catch-all concept provides a reconsideration of the foundations of the history and philosophy of visual art.
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122 kr
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Based on the BBC television series, John Berger's Ways of Seeing is a unique look at the way we view art, published as part of the Penguin on Design series in Penguin Modern Classics.'Seeing comes before words. The child looks and recognizes before it can speak.''But there is also another sense in which seeing comes before words. It is seeing which establishes our place in the surrounding world; we explain that world with words, but word can never undo the fact that we are surrounded by it. The relation between what we see and what we know is never settled.' John Berger's Ways of Seeing is one of the most stimulating and influential books on art in any language. First published in 1972, it was based on the BBC television series about which the Sunday Times critic commented: 'This is an eye-opener in more ways than one: by concentrating on how we look at paintings . . . he will almost certainly change the way you look at pictures.' By now he has.John Berger (b. 1926) is an art critic, painter and novelist.born in Hackney, London. His novel G. (1972) won both the James Tait Black Memorial Prize and the Booker Prize. If you enjoyed Ways of Seeing, you might like Susan Sontag's On Photography, also available in Penguin Modern Classics.'Berger has the ability to cut right through the mystification of professional art critics ... he is a liberator of images: and once we have allowed the paintings to work on us directly, we are in a much better position to make a meaningful evaluation'Peter Fuller, Arts Review'The influence of the series and the book ... was enormous ... It opened up for general attention areas of cultural study that are now commonplace'Geoff Dyer in Ways of Telling'One of the most influential intellectuals of our time'Observer
679 kr
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When the French edition of Confronting Images appeared in 1990, it won immediate acclaim because of its far-reaching arguments about the structure of images and the histories ascribed to them by scholars and critics working in the tradition of Vasari and Panofsky. According to Didi-Huberman, visual representation has an “underside” in which seemingly intelligible forms lose their clarity and defy rational understanding. Art historians, he goes on to contend, have failed to engage this underside, where images harbor limits and contradictions, because their discipline is based upon the assumption that visual representation is made up of legible signs and lends itself to rational scholarly cognition epitomized in the “science of iconology.” To escape from this cul-de-sac, Didi-Huberman suggests that art historians look to Freud’s concept of the “dreamwork,” not for a code of interpretation, but rather to begin to think of representation as a mobile process that often involves substitution and contradiction. Confronting Images also offers brilliant, historically grounded readings of images ranging from the Shroud of Turin to Vermeer’s Lacemaker.
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189 kr
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309 kr
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This is one of the classic books on craftsmanship and design. In it, David Pye explores the meaning of skill and its relationship to design and manufacture. Cutting through a century of fuzzy thinking, he proposes a new theory of making based on the concept of good workmanship and shows how it imparts all-important diversity to our visual environment.
480 kr
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Design History has become a complex and wide-ranging discipline. It now examines artefacts from conception to development, production, mediation, and consumption. Over the last few decades, the discipline has developed a diverse range of theories and methodologies for the analysis of objects. Design History presents the most comprehensive overview and guide to these developments. The book first traces the development of the discipline, explaining how it draws from Art History, Industrial Design, Cultural History and Material Culture Studies. The core of the book then analyses the seminal methodologies used in Design History today. The final section highlights the key issues concerning knowledge and meaning in Design. Throughout, the aim is to present a concise and accessible introduction to this complex field. A map to the intellectual landscape of Design History, the book will be an invaluable guide for students and a very useful reference for scholars.
351 kr
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A concise illustrated history of one of art’s most important and elusive elementsOver the millennia, humans have used pigments to decorate, narrate, and instruct. Charred bone, ground earth, stones, bugs, and blood were the first pigments. New pigments were manufactured by simple processes such as corrosion and calcination until the Industrial Revolution introduced colors outside the spectrum of the natural world. Pigments brings together leading art historians and conservators to trace the history of the materials used to create color and their invention across diverse cultures and time periods. This richly illustrated book features incisive historical essays and case studies that shed light on the many forms of pigments—the organic and inorganic; the edible and the toxic; and those that are more precious than gold. It shows how pigments were as central to the earliest art forms and global trade networks as they are to commerce, ornamentation, and artistic expression today. The book reveals the innate instability and mutability of most pigments and discusses how few artworks or objects look as they did when they were first created.From cave paintings to contemporary art, Pigments demonstrates how a material understanding of color opens new perspectives on visual culture and the history of art.
245 kr
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"Det finns böcker man vill läsa om för att de är lika roliga och underhållande som lärorika och tankeväckande. Detta är en sådan, inte bara för konstvänner utan alla som någon gång har ägt en tavla eller uppskattar en god historia." Sundsvalls Tidning
"Förutom spännande beskrivningar av olika kriminalfall visar Lloyd prov på goda konsthistoriska kunskaper som han delar med sig av ... 'Förfalskad konst' är en av de där böckerna som är både roande och folkbildande på samma gång." Opulens
Falska målningar av folkkära svenska konstnärer som Albin Amelin, Bengt Lindström och Madeleine Pyk dyker ständigt upp för försäljning. Även verk av internationella stjärnor som Joan Miró, Pablo Picasso och Jean-Michel Basquiat kopieras ofta. Plagiatkonstmarknaden omsätter mångmiljonbelopp årligen.
Men hur avslöjas egentligen bedragarna och hur går polisens utredningar till? Vad händer med tavlorna sedan? Följ med polisen Peter Lloyd, som har många års erfarenhet av att utreda konstförfalskningar, och ta del av metoderna för att avslöja bedragarnas trick. Lär känna mästerförfalskarna Han van Meegeren, som lurade Herman Göring, Elmyr de Hory, som blev sur när man började plagiera hans förfalskningar och Mark Landis, som skänkte bort sin förfalskade konst till museer. Här finns också tips och råd för den som vill lära sig hur man identifierar ett förfalskat verk och vad man ska se upp med vid konstköp. Boken är rikt illustrerad med äkta falsk konst.
Konstnären Ernst Billgren, som själv blivit utsatt för plagieringsförsök, har skrivit ett förord till boken.
PETER LLOYD är Sveriges enda polis som utreder konstbedrägerier på heltid.
LEONE MILTON har tidigare skrivit en rad böcker, bland andra Till mina torskar tillsammans med Hanna Widerstedt.
317 kr
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322 kr
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"Art" has always been contested terrain, whether the object in question is a medieval tapestry or Duchamp's Fountain. But questions about the categories of "art" and "art history" acquired increased urgency during the 1970s, when new developments in critical theory and other intellectual projects dramatically transformed the discipline. The first edition of Critical Terms for Art History both mapped and contributed to those transformations, offering a spirited reassessment of the field's methods and terminology.Art history as a field has kept pace with debates over globalization and other social and political issues in recent years, making a second edition of this book not just timely, but crucial. Like its predecessor, this new edition consists of essays that cover a wide variety of "loaded" terms in the history of art, from sign to meaning, ritual to commodity. Each essay explains and comments on a single term, discussing the issues the term raises and putting the term into practice as an interpretive framework for a specific work of art. For example, Richard Shiff discusses "Originality" in Vija Celmins's To Fix the Image in Memory, a work made of eleven pairs of stones, each consisting of one "original" stone and one painted bronze replica. In addition to the twenty-two original essays, this edition includes nine new ones—performance, style, memory/monument, body, beauty, ugliness, identity, visual culture/visual studies, and social history of art—as well as new introductory material. All help expand the book's scope while retaining its central goal of stimulating discussion of theoretical issues in art history and making that discussion accessible to both beginning students and senior scholars.Contributors: Mark Antliff, Nina Athanassoglou-Kallmyer, Stephen Bann, Homi K. Bhabha, Suzanne Preston Blier, Michael Camille, David Carrier, Craig Clunas, Whitney Davis, Jas Elsner, Ivan Gaskell, Ann Gibson, Charles Harrison, James D. Herbert, Amelia Jones, Wolfgang Kemp, Joseph Leo Koerner, Patricia Leighten, Paul Mattick Jr., Richard Meyer, W. J. T. Mitchell, Robert S. Nelson, Margaret Olin, William Pietz, Alex Potts, Donald Preziosi, Lisbet Rausing, Richard Shiff, Terry Smith, Kristine Stiles, David Summers, Paul Wood, James E. Young
222 kr
141 kr
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THE WORLDWIDE BESTSELLER - A VITAL GUIDE TO CREATIVITY, OVERCOMING OBSTACLES AND MAKING YOUR WORK NO MATTER WHAT 'Filled with insights that every artist and creator needs to hear' JAMES CLEAR'I've stolen tons of inspiration from this book ... and so will you' AUSTIN KLEON'The antidote to our creative ailments' DEBBIE MILLMAN'The ultimate pep talk for artists' WENDY MACNAUGHTONArt & Fear is about the way art gets made, the reasons it often doesn't get made, and the nature of the difficulties that cause so many creatives to give up along the way. Written by artists, for artists, the book delves into the internal and external challenges to making creative work, and shows how they can be overcome every day.First published in 1994, Art & Fear quickly became an underground classic, and word-of-mouth has placed it among the best-selling books on artmaking and creativity. It offers generous and wise insight into what pushes us to sit down at an easel or desk, go to a studio or performance space, and try to create new work to put into the world. Every creative and artist, whether a beginner or a prizewinner, a student or a teacher, faces the same fears - and this book illuminates the way through them.This new edition has a foreword by longtime friend and fan, bestselling author and photographer Sally Mann.
373 kr
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A beautifully illustrated visual and cultural history of the color red throughout the ages The color red has represented many things, from the life force and the divine to love, lust, and anger. Up through the Middle Ages, red held a place of privilege in the Western world. For many cultures, red was not just one color of many but rather the only color worthy enough to be used for social purposes. In some languages, the word for red was the same as the word for color. The first color developed for painting and dying, red became associated in antiquity with war, wealth, and power. In the medieval period, red held both religious significance, as the color of the blood of Christ and the fires of Hell, and secular meaning, as a symbol of love, glory, and beauty. Yet during the Protestant Reformation, red began to decline in status. Viewed as indecent and immoral and linked to luxury and the excesses of the Catholic Church, red fell out of favor. After the French Revolution, red gained new respect as the color of progressive movements and radical left-wing politics.In this beautifully illustrated book, Michel Pastoureau, the acclaimed author of Blue, Black, and Green, now masterfully navigates centuries of symbolism and complex meanings to present the fascinating and sometimes controversial history of the color red. Pastoureau illuminates red's evolution through a diverse selection of captivating images, including the cave paintings of Lascaux, the works of Renaissance masters, and the modern paintings and stained glass of Mark Rothko and Josef Albers.
- Nyhet
330 kr
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Barbara Kruger once defined art as “the ability to show and tell, through a kind of eloquent shorthand, how it feels to be alive.” Testing that claim, How It Feels to Be Alive braids criticism with personal narrative to consider art’s intimate effects and how it might help us find clarity in an uncertain world.When Megan O'Grady was a teenager, she saw a photograph in a museum that changed her life. At the end of an early marriage, art stoked new ways of thinking about connection and transformation. As a new parent, it guided her to confront vulnerability and shame. Whether seeking a home or contending with crises personal, political, and ecological, art was a critical lifeline, a source of beauty, solace, and provocation.Looking closely at five artworks and the context in which each was made - often drawing on personal conversations with the artists - O’Grady examines the work’s rippling impact, implicating sometimes unexpected lineages and genres. How does art expand and redirect our imaginations and attention? When bottom-line or nihilistic thinking dominates our public sphere, what meanings and alternatives does it offer? A vital call to engage deeply, to see in new ways, and to rethink all that we take for granted, How It Feels to Be Alive inspires and exhorts, providing a template to think through the knottiest problems in our culture, our selves, and the connections between the two.
423 kr
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330 kr
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For Romans, genius loci was literally ‘the genius of the place’, the presiding divinity who inhabited a site and gave it meaning; while we are less attuned to divinity today, we still sense that a place has significance. In this book, eminent garden historian John Dixon Hunt explores genius loci in many settings, including contemporary land art, the paintings of Paul and John Nash, the work of the travel writers such as Henry James, Paul Theroux and Lawrence Durrell on Provence, Mexico and Cyprus, and landscape architects who invent new meanings for a site.This is a nuanced, thoughtful exploration of how places become more significant to us through the myriad ways we see, talk about and remember them.
222 kr
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Art History: A critical introduction to its methods provides a lively and stimulating introduction to methodological debates within art history. Offering a lucid account of approaches from Hegel to post-colonialism, the book provides a sense of art history’s own history as a discipline from its emergence in the late-eighteenth century to contemporary debates. By explaining the underlying philosophical and political assumptions behind each method, along with clear examples of how these are brought to bear on visual and historical analysis, the authors show that an adherence to a certain method is, in effect, a commitment to a set of beliefs and values. The book makes a strong case for the vitality of the discipline and its methodological centrality to new fields such as visual culture.This book will be of enormous value to undergraduate and graduate students, and also makes its own contributions to ongoing scholarly debates about theory and method.
352 kr
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Black--favorite color of priests and penitents, artists and ascetics, fashion designers and fascists--has always stood for powerfully opposed ideas: authority and humility, sin and holiness, rebellion and conformity, wealth and poverty, good and bad. In this beautiful and richly illustrated book, the acclaimed author of Blue now tells the fascinating social history of the color black in Europe. In the beginning was black, Michel Pastoureau tells us. The archetypal color of darkness and death, black was associated in the early Christian period with hell and the devil but also with monastic virtue. In the medieval era, black became the habit of courtiers and a hallmark of royal luxury. Black took on new meanings for early modern Europeans as they began to print words and images in black and white, and to absorb Isaac Newton's announcement that black was no color after all. During the romantic period, black was melancholy's friend, while in the twentieth century black (and white) came to dominate art, print, photography, and film, and was finally restored to the status of a true color.For Pastoureau, the history of any color must be a social history first because it is societies that give colors everything from their changing names to their changing meanings--and black is exemplary in this regard. In dyes, fabrics, and clothing, and in painting and other art works, black has always been a forceful--and ambivalent--shaper of social, symbolic, and ideological meaning in European societies. With its striking design and compelling text, Black will delight anyone who is interested in the history of fashion, art, media, or design.