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"La figuration n’est pas tout entière livrée à la fantaisie expressive de ceux qui font des images. On ne figure que ce que l’on perçoit ou imagine, et l’on n’imagine et ne perçoit que ce que l’habitude nous a enseigné à discerner. Le chemin visuel que nous traçons spontanément dans les plis du monde dépend de notre appartenance à l’une des quatre régions de l’archipel ontologique : animisme, naturalisme, totémisme ou analogisme. Chacune de ces régions correspond à une façon de concevoir l’ossature et le mobilier du monde, d’en percevoir les continuités et les discontinuités, notamment les diverses lignes de partage entre humains et non-humains. Masque yup’ik d’Alaska, peinture sur écorce aborigène, paysage miniature de la dynastie des Song, tableau d’intérieur hollandais du XVIIe siècle : par ce qu’elle montre ou omet de montrer, une image révèle un schème figuratif particulier, repérable par les moyens formels dont elle use, et par le dispositif grâce auquel elle pourra libérer sa puissance d’agir. Elle nous permet d’accéder, parfois mieux que par des mots, à ce qui distingue les manières contrastées de vivre la condition humaine. En comparant avec rigueur des images d’une étourdissante diversité, Philippe Descola pose magistralement les bases théoriques d’une anthropologie de la figuration."
Visual anthropology --- Art and anthropology --- Ethnology in art --- Figurative art --- Ethnology in art. --- Reality in art --- Perception (Philosophy) --- Image (Philosophy) --- Representation (Philosophy) --- Animism --- Naturalism --- Analogy --- Art figuratif --- Anthropologie sociale et culturelle dans l'art --- Réalité dans l'art --- Perception (Philosophie) --- Image (Philosophie) --- Représentation (Philosophie) --- Animisme --- Naturalisme --- Analogie (Philosophie) --- Social aspects. --- Aspect social --- Anthropologie --- Image --- Analyse de l'image --- Ontologie --- Philosophie de l'art --- Art et langage --- Ethnologie --- Ethnology. Cultural anthropology --- figures [representations] --- figure-derived form attributes --- Réalité --- Realism in art --- Perception (philosophie) --- Perception (philosophy) --- Image (philosophie) --- Image (philosophy) --- Représentation (philosophie) --- Representation (philosophy) --- Animisme. --- Totémisme. --- Totemism --- Naturalisme (philosophie) --- Analogie (philosophie) --- Anthropology --- Dans l'art. --- Totémisme --- Anthropologie. --- Anthropology. --- Dans l'art
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The Steenwyck family – Hendrick the Elder and his son Hendrick the Younger, together with the latter’s wife Susanna Gaspoel, represent a remarkable group of artists, successful and well regarded in their own time, but now somewhat overlooked. They were among the first artists to concentrate on making use of the science of perspective to produce idealised and meticulously painted architectural scenes, enhanced by elegant figures, sometimes executed by artists of the quality of Jan Brueghel I, as the basis of a new style of painting. Spanning the turbulent period from the late 16th to the mid 17th centuries they succeeded in producing a new art form that found favour with connoisseurs in much of Europe, including the court of King Charles I in London, where Steenwyck the Younger worked for over 20 years. This book, the first ever written on the Steenwycks, covers the work of this talented family and explores the social, economic and religious conditions which help to explain the appeal of this elegant new style to their patrons. The catalogue raisonné covers the known works of the artists and contains detailed provenances and bibliographic references. The book contains a number of illustrations, including a number which will be barely known except by specialists in the subject. (brepols)
Steenwijck, van, Susanna --- Steenwyck, van, Hendryck [Elder] --- Steenwijck, van, Hendrik [Younger] --- Painters --- Peintres --- Biography. --- Biographies --- Steenwyck, Hendrik van, --- Steenwyck, Susanna van, --- Steenwyck family --- Perspective --- Architecture in art --- Architecture in art. --- Perspective. --- Key, Adriaen Thomasz., --- Steenwyck, Hendrick van --- Steemwyck, Susanna van --- Steenwyck, Hendrick van, --- Steemwyck, Susanna van, --- Architectural perspective --- Linear perspective --- Mechanical perspective --- Optics --- Space (Art) --- Space perception --- Projection --- Proportion (Art) --- Shades and shadows --- Artists --- Van Steenwyck, Susanna, --- Steenwijck, Hendrick van, --- Van Steenwyck, Hendrik, --- Steenwyk, Hendrik van, --- Painters - Flanders - Biography --- Steenwyck, Hendrik van, - approximately 1550-1603 - Catalogues raisonnés --- Steenwyck, Hendrik van, - approximately 1580-approximately 1649 - Catalogues raisonnés --- Steenwyck, Susanna van, - active 1639-approximately 1660 - Catalogues raisonnés --- Steenwyck, Hendrik van, - approximately 1550-1603 --- Steenwyck, Hendrik van, - approximately 1580-approximately 1649 --- Steenwyck, Susanna van, - active 1639-approximately 1660
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