Rabu, 06 April 2011

PDF Download Word and Image: French Painting of the Ancien Régime (Cambridge Paperback Library)By Norman Bryson

PDF Download Word and Image: French Painting of the Ancien Régime (Cambridge Paperback Library)By Norman Bryson

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Word and Image: French Painting of the Ancien Régime (Cambridge Paperback Library)By Norman Bryson

Word and Image: French Painting of the Ancien Régime (Cambridge Paperback Library)By Norman Bryson


Word and Image: French Painting of the Ancien Régime (Cambridge Paperback Library)By Norman Bryson


PDF Download Word and Image: French Painting of the Ancien Régime (Cambridge Paperback Library)By Norman Bryson

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Word and Image: French Painting of the Ancien Régime (Cambridge Paperback Library)By Norman Bryson

This 1982 book, now recognised as a classic, has done perhaps more than any other single work to change the face of art criticism in the twentieth century. Whereas previous books on French painting looked only at the history of painting as an evolution of artistic styles (baroque, rococo, neo-classical, and so on), Norman Bryson examines the evolution of narrative styles: the kinds of stories paintings tell, the ways they communicate their information, the different techniques of presenting the body as an instrument for incorporating textual messages. The procedure is applied to a number of painters: LeBrun, Watteau, Greuze, David and others, and the author demonstrates that the relation of formal and 'literary' elements was regarded by painters and critics in the eighteenth century as the primary issue to be confronted in the production of a painting.

  • Sales Rank: #734866 in Books
  • Brand: Brand: Cambridge University Press
  • Published on: 1983-01-28
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.72" h x .63" w x 6.85" l, 1.68 pounds
  • Binding: Paperback
  • 300 pages
Features
  • Used Book in Good Condition

Review
'Word and Image repays the effort it demands in heaped measure, because Norman Bryson writes with rare intellectual exhilaration. On page after page, he detonates fresh ideas carrying far wider repercussions than his immediate subject matter. He himself has a way of turning pedagogy into pyrotechnics, just as the painters whom he discusses here with such commitment - LeBrun, Watteau, Greuze, Chardin, David - transform moral enigmas into paint.' Marina Warner, The Sunday Times

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