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Featuring the work of five prominent scholars, this collection analyzes the paintings of Diego Velázquez within the cultural, intellectual, and political frameworks of seventeenth-century Spain. Each essay offers novel insight into the greatest artist of the Spanish Golden Age by bringing a remarkable range of material to bear upon the interpretation of his works. Laura Bass considers painting, poetics, and the Spanish canon of arts and letters in an examination of Velázquez's trenchant portrayal of the writer Luis de Góngora. Turning to the nexus between theory and practice, Giles Knox explores how Velázquez engaged with sculpture both as a young man mastering his craft and as a painter to King Philip IV. Fernando Marías uses sixteenth- and seventeenth-century artistic theory to shed light on the complex narrative structure of a work painted by Velázquez in Italy: Joseph?s Bloodied Coat, in which the artist placed himself in competition with the celebrated history painters of Rome. Through an investigation of classical philosophy as understood by Velázquez?s contemporaries, Aneta Georgievska-Shine locates his enigmatic Aesop and Menippus within discourse on wisdom, paradox, and humor. Javier Portús places paintings and theatrical productions within the social and political matrix of the Spanish court, offering a powerful new reading of the space for which Velázquez created the Surrender of Breda

Velázquez, da Silva y, Diego --- Painting, Spanish --- Painting --- Painters --- Themes, motives --- Social networks --- Velázquez, Diego,

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"Man Ray (1890-1976) was a pioneer of the Dada movement in the United States and France and a central protagonist of Surrealism. Today he is one of the best-known American artists of the twentieth century, celebrated above all for his innovative and often seductively glamorous photography. Surprisingly, given Man Ray's key role in the history of early-twentieth-century Modernism, a comprehensive collection of his writings on art has not been published in English until now. Man Ray: Writings on Art fills a conspicuous gap in scholarship on the artist and his period. It brings together his most significant writings, many of them published here for the first time. These occasionally quixotic texts, which include artist books, essays, interviews, letters, and visual poems, reveal the incredible scale of the artist's output and the remarkable continuity of his aesthetic and political beliefs. This volume offers a long overdue vision of Man Ray as someone who used words both as a creative medium and as a means of articulating ideas about the nature and value of art. With richly reproduced illustrations, it provides powerful insight not only to scholars of art history and academics, but also to working artists and those who count themselves as Man Ray fans."--ECIP data view.

Photographers --- Art, Modern --- Dadaism --- Surrealism --- Photography --- Photographes --- Art --- Dadaïsme --- Surréalisme --- Photographie --- Biography --- Social networks --- History --- Sources --- Biographie --- Réseaux sociaux --- Histoire --- Man Ray, --- art criticism --- Man Ray --- Sources. --- Social networks.

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Schiele, Egon --- Painting, Austrian --- Portrait painting --- Painters --- Art --- Exhibitions --- Social networks --- Collectors and collecting --- Schiele, Edith, --- Exhibitons. --- Exhibitions.

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"Entre 1768 et 1825, Jacques-Louis David tient un atelier formant à la peinture d'histoire, genre noble et viril, où quatre cent cinquante jeunes gens se pressent durant plus d'un demi-siècle. Parmi eux, vingt-six femmes dont établir l'identité est une gageure tant "l'atelier féminin" de David est protéiforme et changeant. En un temps où les bouleversements sociaux et politiques favorisent l'épanouissement des femmes peintres, "l'atelier féminin" de David est un lieu d'apprentissage pour des artistes, telles Guillemin Benoist, Constance Charpentier, Sophie Chéradame, Sophie Rude et Angélique Mongez mais aussi un lieu de sociabilité pour quelques mondaines, dont Charlotte Bonaparte et l'ex-Madame Tallien. Simples élèves, collaboratrices ou encore inspiratrices, les artistes réalisent nombre d'oeuvres, allant du portrait aux grands formats historiques, ouvrent des ateliers d'enseignement et exposent pendant plusieurs décennies au Salon où elles sont en compétition avec leurs collègues masculins. Ainsi, Guillemine Benoist et Anne-Louis Girodet, parmi les plus brillants élèves de David, s'aventurent à présenter au public les portraits du Citoyen Belley (1797) et d'Une femme noire (1800), oeuvres en miroir, atypiques et virtuosess, représentant des modèles noirs. Les destins croisés de ces deux peintres mettent en perspective leurs carrières qui soulignent les entraves faites aux femmes artistes, aussi douées soient-elles, afin qu'elles ne puissent concurrencer les hommes sur le marché de l'art. Les davidiennes et "l'atelier féminin" de David entrent ici dans la lumière." [Source : 4e de couv.]

Painting --- art history --- David, Jacques-Louis --- Femmes peintres --- David --- Disciples. --- Painting, French --- Portrait painting --- Portrait painting, French --- Artists' studios --- Women painters --- Social networks --- David, Jacques Louis, --- vrouwelijke kunstenaar

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In 1909, renowned artist Pablo Picasso (1881-1973) embarked on a series of stylistic experiments that had a dramatic effect on modern art. This book examines the ways in which Picasso's art of 1909 intertwines and engages with the larger intellectual framework of his time and sheds light on how the writings of Gertrude Stein, the philosophy of Henri Bergson, the theories of Albert Einstein, and even American comic strips played a role in the development of Picasso's unique artistic style. With an insightful, interdisciplinary approach that focuses on how European society was grappling with the larger issues of how to conceptualize, write about, and visualize a rapidly modernizing culture, Painting 1909 presents a methodical exploration of Picasso's stylistic choices and proposes new reasons for the development of radical modernist art that led to Cubism and, eventually, absolute abstraction.

Picasso, Pablo, --- Criticism and interpretation. --- Painters --- Cubism --- Intellectual life --- Peintres --- Cubisme --- Vie intellectuelle --- Social networks --- Réseaux sociaux --- art criticism --- Painting --- Aesthetics of art --- painting [image-making] --- Picasso, Pablo --- Bergson, Henri --- Stein, Gertrude --- Einstein, Albert --- anno 1900-1909 --- Réseaux sociaux