How the practice of titling paintings has shaped their reception throughout modern history A picture's title is often our first guide to understanding the image. Yet paintings didn't always have titles, and many canvases acquired their names from curators, dealers, and printmakers--not the artists. Taking an original, historical look at how Western paintings were named, Picture Titles shows how the practice developed in response to the conditions of the modern art world and how titles have shaped the reception of ...
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How the practice of titling paintings has shaped their reception throughout modern history A picture's title is often our first guide to understanding the image. Yet paintings didn't always have titles, and many canvases acquired their names from curators, dealers, and printmakers--not the artists. Taking an original, historical look at how Western paintings were named, Picture Titles shows how the practice developed in response to the conditions of the modern art world and how titles have shaped the reception of artwork from the time of Bruegel and Rembrandt to the present. Ruth Bernard Yeazell begins the story with the decline of patronage and the rise of the art market in the seventeenth and eighteenth centuries, as the increasing circulation of pictures and the democratization of the viewing public generated the need for a shorthand by which to identify works at a far remove from their creation. The spread of literacy both encouraged the practice of titling pictures and aroused new anxieties about relations between word and image, including fears that reading was taking the place of looking. Yeazell demonstrates that most titles composed before the nineteenth century were the work of middlemen, and even today many artists rely on others to name their pictures. A painter who wants a title to stick, Yeazell argues, must engage in an act of aggressive authorship. She investigates prominent cases, such as David's Oath of the Horatii and works by Turner, Courbet, Whistler, Magritte, and Jasper Johns. Examining Western painting from the Renaissance to the present day, Picture Titles sheds new light on the ways that we interpret and appreciate visual art.
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Add this copy of Picture Titles: How and Why Western Paintings Acquired to cart. $9.00, very good condition, Sold by Midtown Scholar Bookstore rated 5.0 out of 5 stars, ships from Harrisburg, PA, UNITED STATES, published 2015 by Princeton University Press.
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Very Good in Very Good jacket. Size: 9x6x1; Binding tight and sturdy, text very good+, tan cloth / gilt boards with very light shelfwear at edges. DJ also very good+, not clipped, now protected in Mylar wraps. NOT ex-lib. Due to the size/weight of this book extra charges may apply for international shipping. Ships from Dinkytown in Minneapolis, Minnesota.
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Fine. Sewn binding. Cloth over boards. 352 p. Contains: Illustrations. In Stock. 100% Money Back Guarantee. Brand New, Perfect Condition, allow 4-14 business days for standard shipping. To Alaska, Hawaii, U.S. protectorate, P.O. box, and APO/FPO addresses allow 4-28 business days for Standard shipping. No expedited shipping. All orders placed with expedited shipping will be cancelled. Over 3, 000, 000 happy customers.
Add this copy of Picture Titles: How and Why Western Paintings Acquired to cart. $35.22, new condition, Sold by GreatBookPrices rated 4.0 out of 5 stars, ships from Columbia, MD, UNITED STATES, published 2015 by Princeton University Press.
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New. Sewn binding. Cloth over boards. 352 p. Contains: Illustrations. In Stock. 100% Money Back Guarantee. Brand New, Perfect Condition, allow 4-14 business days for standard shipping. To Alaska, Hawaii, U.S. protectorate, P.O. box, and APO/FPO addresses allow 4-28 business days for Standard shipping. No expedited shipping. All orders placed with expedited shipping will be cancelled. Over 3, 000, 000 happy customers.
Add this copy of Picture Titles-How and Why Western Paintings Acquired to cart. $35.23, new condition, Sold by Paperbackshop rated 4.0 out of 5 stars, ships from Bensenville, IL, UNITED STATES, published 2015 by Princeton University Press.
