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In the study of Indian art prior to the Mughal period, portraiture has so far been much neglected, when its existence has not simply been denied. This book is an attempt to reassess this issue, by showing that portraits have existed in great number in early India, since probably the first artistic achievements. Through a close scrutiny of sculpted and (more rarely) painted images brought together with textual and epigraphical references, it aims at highlighting the specificities of Indian portraiture, its relationship with divine images and, consequently, at understanding the development of Indian imagery. It questions also the social and religious implications related to this issue.

Portraits, Indic. --- Art and society --- Portraits, Indic --- Portraits de l'Inde --- Art et société --- Art --- Art and sociology --- Society and art --- Sociology and art --- Indic portraits --- Social aspects

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In The Portrait Bust and French Cultural Politics in the Eighteenth Century , Ronit Milano probes the rich and complex aesthetic and intellectual charge of a remarkably concise art form, and explores its role as a powerful agent of epistemological change during one of the most seismic moments in French history. The pre-Revolutionary portrait bust was inextricably tied to the formation of modern selfhood and to the construction of individual identity during the Enlightenment, while positioning both sitters and viewers as part of a collective of individuals who together formed French society. In analyzing the contribution of the portrait bust to the construction of interiority and the formulation of new gender roles and political ideals, this book touches upon a set of concerns that constitute the very core of our modernity.

Sculpture --- Philosophy and psychology of culture --- anno 1700-1799 --- France --- Portrait sculpture, French --- Busts --- Art and society --- Sculpture de portraits française --- Bustes --- Art et société --- History --- Histoire --- Intellectual life --- Vie intellectuelle --- Sculpture de portraits française --- Art et société --- Art --- Art and sociology --- Society and art --- Sociology and art --- Portrait busts --- French portrait sculpture --- Social aspects

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This book analyses the stylistic, iconographic and historical aspects of the Chigi vase, the famous Protocorinthian olpe dating back as early as ca. 650 BC. The vase is the masterpiece of the Chigi Painter, a skilful vase-painter who was acquainted as well with the big size Corinthian painting. The different themes, which run along the three main friezes, link each other in order to build up a true iconographic program: its key point is the distinction between the lower frieze for the ephebes' paideia and the two main friezes which show the Corinthian elites through their activities - either real or symbolic ones - and distinguishing attributes. Paris' judgment is meant as part of this iconographic program as it shows, through a mythical paradigm, a necessary step of the life, i.e. the wedding, as well as the risks that it involves. The socio-political interpretation of the iconographic program opens the historical question of which system could be implied, as the vase was painted in a critical moment of Corinthian history, i.e. in the period when Kypselos became tyrant and exiled the Bakchiads. Finally, on the background of Demaratus' tradition, the analysis investigates a possible scenario for the arrival of the Chigi olpe in the hands of an Etruscan prince of Veii, in whose tumulus it was found in 1882.

Vases, Ancient --- Art and society --- Vases antiques --- Art et société --- Corinth (Greece) --- Corinthe (Grèce) --- Civilization. --- Civilisation --- Art et société --- Corinthe (Grèce) --- Art --- Art and sociology --- Society and art --- Sociology and art --- Social aspects --- Macmillan Painter. --- Corinth, Greece --- Kórinthos (Greece) --- Corinto (Greece) --- Corinthe (Greece) --- Corinth. --- Olpe Chigi. --- iconography. --- vase painting.

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The neo-avant-garde of the 1950's, 60's and 70's, is due for a thoroughgoing reassessment. This collection of essays represents the first full-scale attempt to deal with the concept from an interdisciplinary standpoint. A number of essays in this book concentrate on fine art, particularly painting and sculpture, thereby adding significantly to the growing art historical literature in the field, but a number of the contributions also focus on poetry, performance, theatre, film, architecture and music. Given that there are also major essays here dealing with geographical blind spots in current neo-avant-garde studies, with thematic issues such as art’s entanglement with gender, mass culture and politics, with key neo-avant-garde publications, and with the purely theoretical problems attaching to the theorisation of the topic, this collection offers a multi-dimensional approach to the subject which is noticeably lacking elsewhere. Taken together these essays represent a consolidated attempt at re-thinking the ‘cultural logic’ of the immediate post-World War II period.

7.01 --- Neo-avantgardisme --- Kunsttheorie ; Avant-Garde ; Neo-Avant-Garde --- Concrete poëzie --- Kunst ; theorie, filosofie, esthetica --- Conferences - Meetings --- Art and society --- Art, European --- Avant-garde (Aesthetics) --- Aesthetics --- Modernism (Art) --- Avant-garde (Esthétique) --- Art européen --- Art et société --- Congresses. --- Congrès --- Art, Modern --- European art --- Nouveaux réalistes (Group of artists) --- Zaj (Group of artists)

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Museum Archetypes and Collecting in the Ancient World offers a broad, yet detailed analysis of the phenomenon of collecting in the ancient world through a museological lens. In the last two decades this has provided a basis for exciting interdisciplinary explorations by archaeologists, art historians, and historians of the history of collecting. This compendium of essays by different specialists is the first general overview of the reasons why ancient civilizations from Archaic Greece to the Late Classical/Early Christian period amassed objects and displayed them together in public, private and imaginary contexts. It addresses the ranges of significance these proto-museological conditions gave to the objects both in sacred and secular settings.

Art --- Art and society --- Art et société --- Collectors and collecting --- History --- Congresses --- Collectionneurs et collections --- Histoire --- Congrès --- Congresses. --- Ancient history --- Museology --- 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 --- Art and sociology --- Society and art --- Sociology and art --- Social aspects --- Art, Primitive