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"After the heroic nudes of the Renaissance and depictions of the tortured bodies of Christian saints, early seventeenth-century French artists turned their attention to their fellow humans, to nobles and beggars seen on the streets of Paris, to courtesans standing at their windows, to vendors advertising their wares, to peasants standing before their landlords. Fascinated by the intricate politics of the encounter between two human beings, artists such as Jacques Callot, Daniel Rabel, Abraham Bosse, Claude Vignon, Georges de la Tour, Jean de Saint-Igny, the Brothers Le Nain, Pierre Brebiette, Jean I Le Blond, and Charles David represented the human figure as a performer who acted out his or her social role. The resulting figures were everyday types whose representations in series of prints, painted galleries, and illustrated books created a repertoire of contemporary social roles. The Real Performer draws upon literature, social history, and affect theory in order to understand the way that figuration performed social positions"--
Role playing in art. --- Social status in art. --- Figurative art, French --- Human beings in art.
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In this book, Julia Guernsey examines the relationship between human figuration, fragmentation, bodily divisibility, personhood, and community in ancient Mesoamerica. Contending that representation of the human body in the pre-classic period gradually became a privileged act, she argues that human figuration as well as the fragmentation of both human representations and human bodies reveals ancient conceptualizations of personhood and the relationship of individual to the community. Considering ceramic figurines and stone sculpture together with archaeological data, Guernsey weaves together evidence and ideas drawn from art history, archaeology, and anthropology to construct a rich, cultural history of Mesoamerican practices of figuration and fragmentation. A methodologically innovative study, her book has ramifications for scholars working in Mesoamerica and, more generally, those interested in the significance of human representation.
Human beings in art. --- Humans in art --- Figure sculpture --- Indian sculpture --- Indians of Central America --- Human figure in art --- Sculpture --- Indians of Mexico --- Stone-sculpture
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Gothic cathedrals in northern Europe dazzle visitors with arrays of sculpted saints, angels, and noble patrons adorning their portals and interiors. In this highly original and erudite volume, Jacqueline E. Jung explores how medieval sculptors used a form of bodily poetics--involving facial expression, gesture, stance, and torsion--to create meanings beyond conventional iconography and to subtly manipulate spatial dynamics, forging connections between the sculptures and beholders. Filled with more than 500 images that capture the suppleness and dynamism of cathedral sculpture, often through multiple angles, Eloquent Bodies demonstrates how viewers confronted and, in turn, were addressed by sculptures at major cathedrals in France and Germany, from Chartres and Reims to Strasbourg, Bamberg, Magdeburg, and Naumburg. Shedding new light on the charismatic and kinetic qualities of Gothic sculpture, this book also illuminates the ways artistic ingenuity and technical skill converged to enliven sacred spaces. --
Sculpture, Gothic --- Sculpture, Medieval --- Architecture, Gothic --- Cathedrals --- Gothic architecture --- Christian antiquities --- Church architecture --- Gothic sculpture --- Figure sculpture --- Motion in architecture --- Themes, motives --- Themes, motives. --- Religious architecture --- Sculpture --- sculpture [visual works] --- motion --- cathedrals [buildings] --- human figures [visual works] --- Gothic [Medieval] --- anno 1200-1499 --- Germany --- France --- Sculpture, Gothic. --- Architecture, Gothic. --- Human beings in art. --- Christian art and symbolism --- Cathedrals. --- Sculpture, Gothic. fast --- Sculpture, Medieval. fast --- Sculpture gothique --- Sculpture de figures humaines --- Mouvement --- Thèmes, motifs. --- Dans l'art. --- Europe. --- cathedrals [works by context] --- kerkelijke kunst
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Artificial bodies constructed in human likeness, from uncanny automatons to mechanical dolls, have long played a complex and subtle role in human identity and culture. This book takes a range of these bodies, from antiquity to the present day, to explore how we seek out echoes, caricatures and replications of ourselves in order to make sense of the complex world in which we live. Packed with case studies, from the commedia del'arte to Hans Bellmer, and the work of Andre Courreges to the 1980s supermodel, this volume explores the divide between the "real" and the constructed. Arguing that the body "other" plays a crucial role in the formation of the self physically and psychologically, leading scholar Adam Geczy contends that the "natural" body has been replaced by a series of imaginary archetypes in our post-modern world, central to which is the figure of the doll. The Artificial Body in Fashion and Art provides a much-needed synthesis of constructed bodies across time and place, drawing on fashion theory, theatre studies and material culture, to explore what the body means in the realms of identity, gender, performance and art.
Psychology --- Human anatomy --- Art --- art [fine art] --- fashion [concept] --- commedia dell'arte --- fashion dolls --- automata --- body modification --- Bellmer, Hans --- Sherman, Cindy --- Mueck, Ron --- Orlan --- Human beings in art. --- Human body --- Human body in popular culture. --- Dolls --- Mannequins (Figures) --- Mannequins (Figures) in art. --- Display figures --- Dummies (Figures) --- Figures, Display --- Lay figures (Mannequins) --- Manakins (Figures) --- Manikins (Figures) --- Mannikins (Figures) --- Models and modelmaking --- Symbolic aspects of dolls --- Symbolism --- Body, Human, in popular culture --- Popular culture --- Humans in art --- Social aspects. --- Symbolic aspects. --- art [discipline] --- fashion [culture-related concept] --- fashion dolls [figurines] --- lichaam (van de mens)
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"À l'époque médiévale, la littérature, l'art et la science enjambaient la distance qui sépare l'humain et le non-humain au moyen d'une pléthore d'hybrides, dont l'identité était marquée par l'ambivalence. Les monstres anthropomorphes hérités de l'Antiquité ou du folklore, les peuples exotiques censés avoir des traits animaux ou végétaux, les animaux ou les plantes portant des ressemblances inquiétantes avec les hommes, les figures aux corps mixtes qui occupaient les marges des manuscrits : autant de créations qui dessinaient une constellation de possibilités dans un continuum des êtres. Ce volume rassemble les huit contributions de spécialistes de littérature et d'histoire de l'art au sujet de l'hybridation entre homme et animal dans la culture médiévale, ainsi que la transcription de la table ronde conclusive du colloque de Louvain-la-Neuve. La variété d'angulations disciplinaires garantit l'exploration de différentes facettes du rapport aux hybridations dans les cultures du Moyen Âge : de l'utilisation des hybrides dans l'iconographie des manuscrits hébreux (Andràs Borgô) aux hybrides dans les sceaux de Flandre (Clémence Gauche, Nantes) ; des défis de la représentation visuelle des hybrides dans les manuscrits des romans en moyen français (Christine Ferlampin-Acher, Rennes) aux hybridations introduites dans l'illustration d'un texte hagiographique (Miranda Griffin, Cambridge) ; des transformations des hybrides hérités de l'Antiquité dans les versions d'un texte en ancien français (Jessy Simonini, Paris) à la progressive normalisation de ces hybrides entre texte et image tout au long du Moyen Âge central (Jacqueline Leclercq-Marx, Bruxelles) ; des créatures presque humaines dans la littérature scientifique de tradition aristotélicienne et les textes de voyage arabes (Grégory Clesse et Florence Ninitte, Cologne et Louvain-la-Neuve) aux hybridations animales et technologiques d'un roman en moyen français (Antonella Sciancalepore, Louvain-la-Neuve). Le dialogue entre les différentes approches rassemblées - dont une actualisation vivace est représentée par la table ronde conclusive (dirigée par Cristina Noacco, Toulouse) - vise à offrir une considération nouvelle des hybrides au Moyen Âge, en tant que méditations autour d'un concept de l'identité humaine ouverte à l'animal, au végétal et même au technologique."--Page 4 of cover.
Anthropomorphisme --- Littérature médiévale. --- Drôleries (enluminure) --- Animaux --- Dans l'art. --- Littérature médiévale. --- Drôleries (enluminure) --- Anthropomorphism in art --- Human beings in art --- Animals in art --- Art, Medieval --- Animal painting and illustration --- Pets in art --- Wild animals in art --- Zoo animals in art --- Humans in art --- Monsters in literature --- Literature, Medieval --- Illumination of books and manuscripts, Medieval --- Hybridization in literature --- Chimerism --- Human body in literature --- Monsters in art --- Civilization, Medieval --- Chimaera (Genetics) --- Chimera (Genetics) --- Chimeras (Genetics) --- Genetics --- Painting, Medieval --- History and criticism --- In literature
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