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Already provocative in the seventeenth century, Rembrandt's female nudes continue to elicit strong responses. How did Rembrandt's radical departure from traditional ways of representing the naked female body measure up in the eyes of his contemporaries? What is it about these extraordinary works that generates such powerful emotions, varying from outright condemnation to celebration? The author addresses such questions by examining the choices that Rembrandt made when faced with pictorial conventions established by renowned forebears, including Rubens and Titian. He demonstrates how Rembrandt reformulated contemporary artistic ideas on lifelikeness and the unfolding of dramatic narrative, thereby inciting the greatest possible empathy with his chosen subjects. In exploring his topic the author casts new light on Rembrandt's views on the art of painting, his attitude towards antiquity and his sustained rivalry with the works of other artists.

naakte vrouw --- schoonheid (vrouw) --- Rembrandt --- Female nude in art. --- Women in art. --- Nu féminin dans l'art --- Femmes dans l'art --- Rembrandt Harmenszoon van Rijn, --- Nu féminin dans l'art --- Female nude in art --- Women in art --- Visual Arts --- Visual Arts - General --- Art, Architecture & Applied Arts --- Nude in art

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Anyone who examines the history of Western art must be struck by the prevalence of images of the female body. More than any other subject, the female nude connotes `art'. The framed image of a female body, hung on the walls of an art gallery, is an icon of Western culture, a symbol of civilization and accomplishment. But how and why did the female nude acquire this status?The Female Nude brings together, in an entirely new way, analysis of the historical tradition of the female nude and discussion of recent feminist art, and by exploring the ways in which acceptable and unacceptab

Female nude in art. --- Nude in art. --- Sex in art. --- Women in art. --- Female nude in art --- Sex in art --- Visual Arts --- Visual Arts - General --- Art, Architecture & Applied Arts --- Sex in the arts --- Sexuality in art --- Nude in art --- Aesthetics of art --- Iconography --- nudes [representations]

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Probleme der Kopien antiker Kunst in nachantiken Epochen werden in diesem Band in Archäologie und Kunstgeschichte im Einzelfall und am Einzelbeispiel besprochen. Begriffe wie Adaption, Anverwandlung, Imitation, Kopie, Nachahmung, Nachbildung oder Reproduktion bevölkern die Literatur in ebenso großer Vielfalt wie die Objekte, auf die sie angewendet werden, die Museen und Sammlungen der Welt seit der Frühen Neuzeit. Über das Phänomen neuzeitlicher Kopien hinausgehend werden damit verbundene Themen wie Ergänzung und Rekonstruktion oder aber das Problem des Fragments in den Blick genommen. Im Gegensatz zur Vorstellung der Antikenkopie als fester Größe, die es am antiken Original zu überprüfen gilt, werden die Transformationsprozesse im Vorgang des Kopierens betont.

Art --- Antiquity --- Art, Greek --- Art, Roman --- Art grec --- Art romain --- Reproduction. --- Copying --- Reproduction --- Social aspects --- Aspect social --- Art --Reproduction --Social aspects. --- Art --Reproduction. --- Art, Greek --Copying. --- Art, Roman --Copying. --- Visual Arts --- Art, Architecture & Applied Arts --- Visual Arts - General --- Social aspects. --- Copying. --- Art, Occidental --- Art, Visual --- Art, Western (Western countries) --- Arts, Fine --- Arts, Visual --- Fine arts --- Iconography --- Occidental art --- Visual arts --- Western art (Western countries) --- Arts --- Aesthetics --- Roman art --- Classical antiquities --- Greek art --- Art, Aegean --- Art, Greco-Bactrian --- Reproduction of works of art --- Art, Primitive --- Geschichte 1500-2007 --- kopieën naar antieke kunst --- Antiquity/Reception. --- Classicism. --- Critical Studies of Copies. --- Original.

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Baroque --- art history --- art theory --- Art --- Pallavicino, Pietro Sforza --- anno 1600-1699 --- Rome --- Christianity and art --- Christianisme et art --- Pallavicino, Sforza, --- Bernini, Gian Lorenzo, --- Criticism and interpretation. --- Criticism and interpretation --- -7.034 <45> --- #GBIB: jesuitica --- 704.9482 --- 709.032 --- Art and Christianity --- Kunst van de renaissance; barok; rococo; koloniale stijl--Italië --- Arts Religion Christianity --- Arts Baroque (1600 -1700) --- Bernini, Lorent︠s︡o, --- Bernin, Gianlorenzo, --- Bernini, Dzhovanni Lorent︠s︡o, --- Bernino, Giovanni Lorenzo, --- Bernini, Gianlorenzo, --- Bernini, Lorenzo, --- Bernini, Giovan Lorenzo, --- Bernini, Giovanni Lorenzo, --- Pallavicino, Pietro Sforza, --- Sforza-Pallavicino, --- Palavicini, --- Pallavicinus, Sfortia, --- Pallavicini, Sforza, --- Pallavicino, Francesco Maria Sforza, --- Visual Arts --- Art, Architecture & Applied Arts --- Visual Arts - General --- 7.034 <45> Kunst van de renaissance; barok; rococo; koloniale stijl--Italië --- Pallavicino, Francesco Maria Sforza --- Sforza --- Pallavicino, Sforza --- 7.034 <45> --- Christianity and art - Italy - Rome --- Pallavicino, Sforza, - 1607-1667 --- Bernini, Gian Lorenzo, - 1598-1680 - Criticism and interpretation --- Bernini, Gian Lorenzo, - 1598-1680

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Melancholy is not only about sadness, despair, and loss. As Renaissance artists and philosophers acknowledged long ago, it can engender a certain kind of creativity born from a deep awareness of the mutability of life and the inevitable cycle of birth and death. Drawing on psychoanalysis, philosophy, and the intellectual history of the history of art, The Melancholy Art explores the unique connections between melancholy and the art historian's craft. Though the objects art historians study are materially present in our world, the worlds from which they come are forever lost to time. In this eloquent and inspiring book, Michael Ann Holly traces how this disjunction courses through the history of art and shows how it can give rise to melancholic sentiments in historians who write about art. She confronts pivotal and vexing questions in her discipline: Why do art historians write in the first place? What kinds of psychic exchanges occur between art objects and those who write about them? What institutional and personal needs does art history serve? What is lost in historical writing about art? The Melancholy Art looks at how melancholy suffuses the work of some of the twentieth century's most powerful and poetic writers on the history of art, including Alois Riegl, Franz Wickhoff, Adrian Stokes, Michael Baxandall, Meyer Schapiro, and Jacques Derrida. A disarmingly personal meditation by one of our most distinguished art historians, this book explains why to write about art is to share in a kind of intertwined pleasure and loss that is the very essence of melancholy. Some images inside the book are unavailable due to digital copyright restrictions.

Art --- History as a science --- Affective and dynamic functions --- Melancholy. --- Mélancolie --- Historiography. --- Historiographie --- Melancholy --- Historiography --- Art - Historiography. --- Visual Arts --- Art, Architecture & Applied Arts --- Visual Arts - General --- Mélancolie --- Dejection --- Emotions --- Depression, Mental --- Sadness --- Art - Historiography --- Aby Warburg. --- Aestheticism. --- Aesthetics. --- Allegory. --- Alois Riegl. --- Anachronism. --- Analytic confidence. --- Ancient art. --- Aphorism. --- Art criticism. --- Art history. --- Arthur Schopenhauer. --- Artistic merit. --- Ben Nicholson. --- Bernard Berenson. --- Bernard Bosanquet (philosopher). --- Beyond the Pleasure Principle. --- Caspar David Friedrich. --- Christopher Bollas. --- Classicism. --- Connoisseur. --- Consciousness. --- Contemporary art. --- Criticism. --- Critique of Judgment. --- Death drive. --- Deconstruction. --- Ernst Gombrich. --- Erwin Panofsky. --- Explanation. --- Fra Angelico. --- Friedrich Nietzsche. --- Fritz Saxl. --- Garry Wills. --- Georg Wilhelm Friedrich Hegel. --- George Steiner. --- Giovanni Morelli. --- Hannah Arendt. --- Hans Ulrich Gumbrecht. --- Hayden White. --- Iconography. --- Illusionism (art). --- Isabella Stewart Gardner Museum. --- Jacques Derrida. --- Jacques Lacan. --- Jacques-Alain Miller. --- James Strachey. --- Jan van Eyck. --- Johann Joachim Winckelmann. --- Josef Strzygowski. --- Julia Kristeva. --- Linguistic turn. --- Literary theory. --- Marion Milner. --- Marsilio Ficino. --- Martin Heidegger. --- Maurice Blanchot. --- Melanie Klein. --- Metahistory. --- Metonymy. --- Meyer Schapiro. --- Michael Baxandall. --- Minima Moralia. --- Modernism. --- Modernity. --- Museum. --- Oceanic feeling. --- Oskar Kokoschka. --- Overpainting. --- Paul de Man. --- Petrarch. --- Philosopher. --- Philosophy. --- Positivism. --- Post-structuralism. --- Postmodernism. --- Psychoanalysis. --- Putto. --- Rainer Maria Rilke. --- Renaissance art. --- Rhetoric. --- Richard Wollheim. --- Romanticism. --- Saint Francis Receiving the Stigmata (van Eyck). --- Sandro Botticelli. --- Simone Martini. --- Svetlana Alpers. --- The Art of Memory. --- The Gaze of Orpheus. --- The Origin of German Tragic Drama. --- The Philosopher. --- Theses on the Philosophy of History. --- Thought. --- Tintoretto. --- Unthought known. --- W. G. Sebald. --- Walter Benjamin. --- Walter Pater. --- Work of art. --- Writing.