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This book examines how Murillo constructed his paintings and the devices he employed to provoke responses in the viewer, both then and now. Murillo has attracted particular attention from historians since the seventeenth century to the present day, though opinions of his oeuvre have varied from period to period. The communicative power of his paintings, both then and now, has led him to be used and exploited for different ends. He deliberately cultivated this quality from the time he became an accomplished artist in his native Seville, where he enjoyed great prestige during his lifetime thanks to the resources of his art, his talent and his ability to elicit emotions and arouse passions. His paintings, as if they were prophecies, can only be understood from a visual culture approach and by analysing what his images provoke. Their seemingly easy and familiar appearance is merely the mirror that Murillo, with his command of local codes and the devices of painting, places in front of viewers to trigger a complex empathetic process designed solely to persuade and seduce them, often anticipating their response.

Murillo, Bartolomé Esteban, --- Murillo, Bartolomé Esteban, --- Criticism and interpretation. --- Painting --- Spanish Renaissance-Baroque styles --- Murillo, Bartolomé Esteban --- Painting, Spanish --- Painting, Baroque --- Criticism and interpretation --- Painters --- Oil painting --- Painting, Primitive --- Paintings --- Graphic arts --- Baroque painting --- Paintings, Baroque --- Artists --- Murillo, Bartolomé Esteban --- Murillo, --- Murilʹo, Bartolome Ėstevan, --- Murillo, Bartolomé Esteban, - 1617-1682 - Criticism and interpretation. --- Murillo, Bartolomé Esteban, - 1617-1682 --- Murillo --- receptiegeschiedenis --- Murillo, Bartolomé Esteban, - 1617-1682

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"Dans l'Europe de la Renaissance, les poètes puisent volontiers leur inspiration du côté de la peinture de leur temps, et c'était alors un défi apprécié que de transposer dans le langage ce qu'un tableau exprimait par des lignes et des couleurs. La mode de l'ekphrasis (description d'œuvres d'art) n'est pas nouvelle puisqu'elle remonte à l'Antiquité gréco-latine. Les poètes de la " République des lettres " européenne (qu'ils écrivent en langue moderne ou en néo-latine) s'inscrivent consciemment dans cette tradition ; mais ils réinventent aussi le genre pour en faire le porte-voix de leurs propres aspirations, goûts et préoccupations artistiques et littéraires. À travers une quinzaine d'études de cas distribuées entre le XVIe et le XVIIe siècle et réparties entre l'Italie, la France, l'Allemagne, les anciens Pays-Bas et la Pologne, le présent volume cherche à rendre compte d'une diversité d'enjeux liés à la pratique de l'ekphrasis moderne dans des poèmes de formes et de thèmes variés, qui reflètent des tableaux tout aussi divers : scènes mythologiques, religieuses ou historiques, nus féminins, portraits de grands hommes ou encore tableaux de fleurs." (4e de couv.)

ekphrasis --- Art --- Literature --- anno 1600-1699 --- anno 1500-1599 --- Ekphrasis --- Epigrams --- European poetry --- Art and literature --- Poetry --- Thematology --- Comparative literature --- Europe --- Peinture de la Renaissance --- Poétique --- Poésie --- Peinture --- Actes de congrès. --- Thèmes, motifs --- Dans la littérature --- Painting, Renaissance --- Painting, Baroque --- Literature and art --- Literature and painting --- Literature and sculpture --- Painting and literature --- Sculpture and literature --- Aesthetics --- Baroque painting --- Paintings, Baroque --- Paintings, Renaissance --- Renaissance painting --- Ecphrasis --- Art in literature --- Description (Rhetoric) --- European literature --- History and criticism --- Conferences - Meetings --- Poétique. --- Poétique. --- Poésie

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Artemisia Gentileschi, widely regarded as the most important woman artist before the modern period, was a major Italian Baroque painter of the seventeenth century and the only female follower of Caravaggio. This first full-length study of her life and work shows that her powerfully original treatments of mythic-heroic female subjects depart radically from traditional interpretations of the same themes.

Iconography --- Gentileschi, Artemisia --- Heldinnen in de kunst --- Heroines in art --- Heroïnes dans l'art --- Italiaanse schilderkunst --- Italian painting --- Painting [Italian ] --- Peinture italienne --- Schilderkunst [Italiaanse ] --- Feminism and art --- Painting, Baroque --- Painting, Italian --- Féminisme et art --- Héroines dans l'art --- Peinture baroque --- Gentileschi, Artemisia, --- Criticism and interpretation --- Critique et interprétation --- 7.071 GENTILESCHI, ARTEMISIA --- 7.071.1-055.2 --- -Painting, Baroque --- -Painting, Italian --- Women heroes in art --- Baroque painting --- Paintings, Baroque --- Art and feminism --- Art --- Creatieve en vertolkende bezigheden in verband met kunst. Activiteiten van beroepsartiesten--GENTILESCHI, ARTEMISIA --- Vrouwelijke kunstenaars --- -Criticism and interpretation --- Painting, Italian. --- Women heroes in art. --- Criticism and interpretation. --- 7.071.1-055.2 Vrouwelijke kunstenaars --- heroines --- women [female humans] --- Féminisme et art --- Héroines dans l'art --- Critique et interprétation --- Gentileschi Lomi, Artemisia, --- Lomi, Artemisia Gentileschi, --- Gentileschi Lomi, Artemisia --- Painting [Baroque ] --- Italy --- Baroque --- vrouw in de kunst

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This is a systematic study of the conceptual framework used by critics and scholars in their discussions of influence in art and literature. Göran Hermerén explores the key questions raised in scholarly debate on the topic: What is meant by "influence"? What methods can be used to settle disagreements about influence? What reasons could be used to support or reject statements about artistic and literary influence? The book is based on descriptive analyses in which the author has tried to make explicit what is said or implied in a number of "ations from scholarly writings on art and literature. Throughout, the emphasis is on clarifying the assumptions on which the use of the concept of influence is based, thus describing the limitations and merits of this kind of comparative research for critics and scholars.Originally published in 1975.The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Judgment (Aesthetics) --- Influence littéraire, artistique, etc. --- Jugement (Esthétique) --- Influence (Literary, artistic, etc) --- -Themes, motives. --- Judgment (Aesthetics). --- Influence littéraire, artistique, etc. --- Jugement (Esthétique) --- Art --- Influence (Literary, artistic, etc.) --- Literature --- -Artistic impact --- Artistic influence --- Impact (Literary, artistic, etc.) --- Literary impact --- Literary influence --- Literary tradition --- Tradition (Literature) --- Belles-lettres --- Western literature (Western countries) --- World literature --- Themes, motives. --- Philosophy --- Subjects --- Comparative literature --- Littérature --- Themes, motives --- Thèmes, motifs --- Philosophie --- Aesthetics --- Artistic impact --- Influence (Psychology) --- Intermediality --- Intertextuality --- Originality in literature --- Literature and philosophy --- Philosophy and literature --- Theory --- Influence (Literary, artistic, etc.). --- Philosophy. --- Art - Themes, motives --- Literature - Philosophy --- Adjective. --- Aesthetic Theory. --- Aesthetics. --- Allegory. --- Allusion. --- Anachronism. --- Ancient art. --- Anecdote. --- Antithesis. --- Art criticism. --- Art history. --- Artistic merit. --- Baroque painting. --- Caravaggio. --- Carolingian art. --- Causality. --- Cliché. --- Clinamen. --- Close reading. --- Comparative literature. --- Comparative method (linguistics). --- Contemporary art. --- Contemporary philosophy. --- Counterfactual conditional. --- Criticism. --- Cubism. --- D. H. Lawrence. --- Deed. --- Digression. --- Drapery. --- Engraving. --- Epic poetry. --- Explanation. --- Ezra Pound. --- Fine art. --- Florentine painting. --- Forgery. --- French literature. --- Genre. --- Human Action. --- Humanities. --- Iconography. --- Ideogrammic method. --- Ideology. --- Illocutionary act. --- Illusionism (art). --- Illustration. --- Illustrator. --- Imagery. --- Indian aesthetics. --- Individualism. --- Invention. --- Japanese art. --- Journalism. --- Languages of Art. --- Las Meninas. --- Literary genre. --- Literature. --- Marcel Duchamp. --- Metaphor. --- Monograph. --- Mural. --- Mutatis mutandis. --- Narrative. --- Oil sketch. --- Ontology. --- Originality. --- Overreaction. --- Pablo Picasso. --- Paul Gauguin. --- Perlocutionary act. --- Philosopher. --- Philosophy of history. --- Philosophy of language. --- Plagiarism. --- Poetry. --- Publication. --- Publishing. --- Rapprochement. --- Requirement. --- Result. --- Romanticism. --- Secondary source. --- Speech act. --- Still life. --- Stipulation. --- Stipulative definition. --- Suggestion. --- Symbolism (arts). --- The Conceptual Framework. --- Theory of art. --- Theory. --- Thought. --- Titian. --- Treatise. --- Value judgment. --- Visual arts. --- Work of art. --- Writer. --- Writing.