History of art Books
Barry Padolsky Associates Inc. Alphabet Soup
£27.99
North Publishing House 281972282621326213262015430334241803242623454
£16.14
North Publishing House 281972282621326213262015430334241803242623454653061996824231199903242629260270043034035806299833193435013
£22.49
Tellwell Talent They and the Novice Human
£16.98
Tellwell Talent They and the Novice Human
£18.99
Tellwell Talent This Merciless Beauty
£10.23
Tellwell Talent This Merciless Beauty
£16.03
Tellwell Talent Decoding the Chinese Communists Art of War
£33.50
Tellwell Talent Decoding the Chinese Communists Art of War
£42.90
Bloomsbury Publishing PLC Master of Attic Black Figure Painting: The Art and Legacy of Exekias
Book SynopsisThe great 6th-century BCE Attic potter-painter Exekias is acclaimed as the most accomplished exponent of late 'black-figure' art. His vases, vessels, bowls and amphorae are reproduced on postcards and in other media all over the world. Despite his importance in the history of art and archaeology, little has been written about Exekias in his own right. Elizabeth Moignard, a leading historian of classical art, here corrects that neglect by addressing her subject as more than just a painter. She positions Exekias as a remarkable but nevertheless grounded and receptive man of his age, working in an Athens that was sensitive to Homeric literature and drawing on that great corpus of poetry to explore its own emerging concepts of honour, heroism, leadership and military tradition. Discussing a range of ceramic pieces, Moignard illustrates their impact and meaning, deconstructing iconic images like the suicide of Ajax; the voyage of Dionysus surrounded by dolphins; and the killing by Achilles of the Amazon queen Penthesilea. This book is the most complete introduction to its subject to be published in English.Trade Review'Exekias is generally agreed to have been the best of the Athenian painters of black-figure vases in the middle of the sixth century BC, and he has not been neglected by scholars. His subjects range from heroic myth to the everyday, even the seemingly trivial. But this engaging study offers something new. It focuses on the major works and considers aspects of their motivation and appeal, much of which may have escaped many connoisseurs and scholars in their detail: for instance the relationship of the scenes to everyday life; to poetry, written or declaimed; to religion; and the degree to which the artist was influenced by his fellows and predecessors in the craft. This is an exemplary 'academic' book but composed in a novel manner, with discursive bibliographies for each chapter which will help the general reader, anyone approaching the subject for the first time, and all scholars. It might well give the venerable study of Greek vase painting a new and welcome life, and widen the appeal of a very important demonstration of a Greek artist at work. The illustration is lavish and well chosen.' - Sir John Boardman, FBA, Emeritus Lincoln Professor of Classical Archaeology & Art, University of Oxford 'Professor Moignard's study presents a vivid and detailed account of the pre-eminent Athenian potter-painter, Exekias, and shows how he transcended the work that his predecessors had produced. In concentrating on his major compositions, she uncovers the layers of emotionally expressive scenes, urges us to make direct contact with the images and highlights the intensity of feeling that lies within the figures of Achilles, Dionysos and particularly Ajax 'the loser'. This is a deeply researched treatment presented in a clear and accessible manner.' - Brian A Sparkes, Professor Emeritus of Classical Archaeology, University of Southampton, author of The Red and the Black: Studies in Greek Pottery (1996) and of Greek Pottery: An Introduction (1991)
£130.00
Bloomsbury Publishing PLC Visions of the Human: Art, World War I and the Modernist Subject
Book SynopsisIn what ways do the artistic avant-garde's representations of the human body reflect the catastrophe of World War I? The European modernists were inspired by developments in the nineteenth-century, yielding new forms of knowledge about the nature of reality and repositioning the human body as the new 'object' of knowledge. New 'visions' of the human subject were created within this transformation. However, modernity's reactionary political climate - for which World War I provided a catalyst - transformed a once liberal ideal between humanity, environment, and technology, into a tool of disciplinary rationalisation. Visions of the Human considers the consequences of this historical moment for the twentieth and twenty-first centuries. It explores the ways in which the 'technologies of the self' that inspired the avant-garde were increasingly instrumentalised by conservative politics, urbanism, consumer capitalism and the society of 'the spectacle'. This is an engaging and powerful study which challenges prior ideas and explores new ways of thinking about modern visual culture.Trade Review'Tom Slevin's Visions of the Human is a well-written and rigorously researched analysis of the various practices of visuality that have contributed to the positioning of the human body in the modern era. Slevin offers an exceptionally significant statement outlining the centrality of visual culture to the embodiment of human subjectivity. The image and the body are not simply analyzed here, rather their interrelationships are shown to be the active determinant in how we have come to know ourselves as human subjects. A remarkable aspect of this book is its impressive range of phenomenological and critical theory approaches to the study of the human. This is essential reading for anyone interested in visual culture and theories of embodiment.', Kelli Fuery, Assistant Professor at Chapman University; 'Visions of the Human provides a cogent and compelling reappraisal of the imagination and experience of the body under the extreme historical pressures of world war and industrial modernity', Dr. Christopher Townsend, FRSA, Professor of the History of Avant-Garde Film, Royal HollowayTable of ContentsList of Illustrations Introduction [4319] 6 Chapter One: New Visions of the Human [24974] Introduction 21 Vision and Knowledge 26 Cultural Encoding 33 The ‘Crisis of the Subject’ 43 Cubist Perceptions 50 The Bionomic of Body and Environment 71 Cubism, Phenomena and Intersubjectivity 77 Chapter Two: The Simultaneous Subject [20862] Introduction 90 Colour, Form, and Memory 99 Simultaneous Materiality 104 La Prose du Transsibérien 110 Vision and the Fourth Dimension 113 La Robe Simultanée 130 Chapter Three: Rationalised Existence [16555] Introduction: Cubism After the War 142 The Cubist Rhizome 145 The European Avant-Garde 152 Oskar Schlemmer and Rationalised Cubism 155 Schlemmer’s Bodies 161 Man in Space 168 The Figure of Reactionary Modernism 174 The Monumental Body 185 Chapter Four: Modernity’s Vitruvian Bodies [9638] Introduction: Vitruvian Men 190 Rudolph Laban’s Icosahedron 197 The Kinesphere 203 Cybernetic Bodies 209 Le Corbusier, the Body, and the ‘Mass Ornament’ 215 The Geometry of Utopia 220 Le Modulor 235 Conclusion: From n-Dimensional Imagination to One Dimensional Man [9294] 239 [Total approx. 85000 words – exc. Bibliography & endnotes] Endnotes 264 Bibliography 289
£130.00
Bloomsbury Publishing PLC Dressed for War: Uniform, Civilian Clothing and Trappings, 1914 to 1918
Book SynopsisMen in khaki and grey squatting in the trenches, women at work, gender bending in goggles and overalls over their trousers, a girl at the Paris theatre in pleated, beaded silk, a bangle on her forearm made from copper fuse wire from the Somme. What people wear matters. Copiously illustrated, this book is the story of what people on both sides wore on the front line and on the home front through the seismic years of World War I. Nina Edwards, reveals fresh aspects of the war through the prism of the smallest details of personal dress, of clothes, hair and accessories, both in uniform and civilian wear. She explores how, during a period of extraordinary upheaval and rapid change, a particular preference for a type of razor blade or perfume, say, or the just-so adjustment to the tilt of a hat, offer insights into the individual experience of men, women and children during the course of World War I.Trade ReviewClothes have a language that illuminates the social and cultural significance of the circumstances in which they are worn. This is particularly true in wartime. Dressed for War is a fascinating and immensely readable account of in what and how both the military and civilians dressed, during the First World War. An apparently trivial subject turns out to have a profundity that adds a rich dimension to our understanding of the Great War in this its centenary year.' Juliet GardinerTable of ContentsIntroduction The Prelude Uniform, Chivalry and Doing One’s Bit Men in Civvies, Women in Uniform Vanity, Luxury and the Fabric of War Attitudes to the Body Variety and Haute Couture Manufacture and the Home Mourning and Wedding 10. O Brave New World Acknowledgments Bibliography Index Websites
£58.12
Bloomsbury Publishing PLC Visualizing Feeling: Affect and the Feminine Avant-garde
Book SynopsisIs late modern art 'anti-aesthetic'? What does it mean to label a piece of art 'affectless'? These traditional characterizations of 1960s and 1970s art are radically challenged in this subversive art history. By introducing feeling to the analysis of this period, Susan Best acknowledges the radical and exploratory nature of art in late modernism. The book focuses on four highly influential female artists--Eva Hesse, Lygia Clark, Ana Mendieta and Theresa Hak Kyung Cha--and it explores how their art transformed established avant-garde protocols by introducing an affective dimension. This aspect of their work, while often noted, has never before been analyzed in detail. Visualizing Feeling also addresses a methodological blind spot in art history: the interpretation of feeling, emotion and affect. It demonstrates that the affective dimension, alongside other materials and methods of art, is part of the artistic means of production and innovation. This is the first thorough re-appraisal of aesthetic engagement with affect in post-1960s art.Trade Review"At last, here is, a book that lifts the ban on affect imposed on art criticism and theory by the 'anti-aesthetic' school that has been dominating the scene in the last forty years! Taking her clues from four of the best women artists whose work spans the period, Susan Best convincingly demonstrates that if you close the door of the house of art to feelings, they enter through the window. What's more, this is valid for the supposedly 'anaesthetic' art movements - minimal and conceptual art - that form the contextual background of her case studies: they are no less aesthetic than the art of the past or the most recent present." Thierry de Duve, Historian and Theorist of contemporary art and Professor at University of Lille "Susan Best's remarkably lucid and paradoxical project begins the process of recovering feeling and emotion in late modern art. Her landmark study of four women artists - Hesse, Clark, Mendieta and Cha - rescues both the feminine and the aesthetic from the ghetto, by an astute combination of psycho-analysis and art history." Dr. Ann Stephen, Senior Curator, Sydney University Museums "Visualizing Feeling develops a compelling argument for focusing on precisely the centrality of affect and feeling in any understanding of the art of the 1960s and 1970s, where it seemed that affect no longer had a place. In exploring the work of four powerful and sometimes neglected women artists, she shows how it is paradoxically where affect is consciously minimized that it nevertheless returns to haunt the art work as its most powerful force. Art works affect before they inform, perform or communicate. Sue Best demonstrates that by restoring the question of affect and emotion to the art work, new kinds of questions can be asked about the feminine in art, questions that affirm the personal and political power of these works of art." Elizabeth Grosz, Rutgers University, author of Chaos, Territory, Art: Deleuze and the Framing of the Earth, Columbia University Press, 2008Table of ContentsIntroduction Chapter 1: Minimalism and Subjectivity: Aesthetics and the Anti-aesthetic Tradition Chapter 2: Mild Intoxication and other Aesthetic Feelings: Psychoanalysis and Art Revisited Chapter 3: Lygia Clark: Participation, Affect and the Body Chapter 4: Eva Hesse's Late Sculptural Works: Elusive Expression and Unconscious Affect Chapter 5: Ana Mendieta's Silueta Series: Affect Miniaturisation and Emotional Ties Chapter 6: The Dream of the Audience: The Moving Images of Theresa Hak Kyung Cha Conclusion: Which Anthropomorphism?
£29.44
Wordzworth Publishing An Auchmithie Childhood
£15.00
Boydell & Brewer Ltd The Wardle Family and its Circle: Textile Production in the Arts and Crafts Era
Book SynopsisThe history of an entrepreneurial family whose work influenced followers of the Arts and Crafts Movement, Gothic Revivalism, Art Needlework and Aestheticism LONGLISTED for the Arnold Bennett Society Book Prize 2020 This book is a richly illustrated history of the Wardle family of Leek, Staffordshire, which rose to prominence in fine textile production in the second half ofthe nineteenth century. At its core is an object-centred exploration revealing how an entrepreneurial family responded to complex international factors. Beautiful dyed, printed and embroidered textiles were created in Leek using traditional craft skills. Followers of the Arts and Crafts Movement and Gothic Revivalism, as well as Art Needlework and Aestheticism, benefited from the family enterprises that flourished despite rapid industrialisation. The Wardle family's rich legacy is played out against the backdrop of the Anglo-Indian silk trade. Thomas Wardle travelled in India and integrated Indian designs into British silk production. His work attracted William Morris, Walter Crane and A. L. Liberty, among others, and their designs, printed by Wardle, were internationally applauded. Elizabeth Wardle, embroiderer, worked with many major architects such as R. N. Shaw, G. G. Scott Jnr and J. D. Sedding.Lavishly illustrated, this book will be of interest to those interested in textile and fashion history and the history of the Arts and Crafts movement, as well as the relationship between the British Empire and the Indian subcontinent. BRENDA M. KING is a textile historian and holds the Chair of the Textile Society. She is also a freelance lecturer in the History of Design and Museum and Heritage Studies and the author of Silk and Empire (2005 and 2009) and Dye, Print, Stitch: Textiles by Thomas and Elizabeth Wardle (2009).Trade ReviewA welcome addition to literature already available on textile history of the late nineteenth and early twentieth centuries. * JOURNAL OF DESIGN HISTORY *A valuable addition to the history of textile production. * THE VICTORIAN *Required reading for those interested in textile and fashion history [and] the Arts and Crafts movement. * ASIAN TEXTILES *Including detailed narrative, historical black-and-white photographs, and color plates of gorgeous silk and gold embroideries, this volume fully documents the Wardles' important roles as entrepreneurs and community leaders. Recommended. * CHOICE *King's account is notable for its close descriptions of the original textile [Bayeux Tapestry] in France as well as the copy created in Leek. She examines both in great detail and provides an eminently informative narrative [.] -- PAUL ANDERTONBrenda M. King's richly illustrated historical account shifts the focus from Thomas Wardle to his wife, family and wider social and cultural milieu. * MIDLAND HISTORY *It is a valuable resource and will, hopefully, lead to the discovery of further archive material about the Leek embroiderers and the work of the intriguing Wardle family. * SPAB, THE SOCIETY FOR THE PROTECTION OF ANCIENT BUILDINGS *This book belongs on the bookshelves of those interested not only in the Wardle family, but also in architecture, textile dying and printing, and embroidery of the Victorian era-the time of the Arts and Crafts movement, Gothic Revivalism, and the Aesthetic Movement. -- Maureen Daly Goggin * Victorian Studies *Table of ContentsIntroduction The Wardle Family and its Circle The Business of Stitch Stitching Narrative: Leek's Facsimile of the Bayeux Tapestry Stitch Meets Stone Rediscoveries and Revelations Appendix Bibliography
£38.00
Glagoslav Publications B.V. Children's Fashion of the Russian Empire
£21.59
Glagoslav Publications B.V. Children's Fashion of the Russian Empire
£26.99
New Generation Publishing Virtues in Muslim Culture: An Interpretation from Islamic Literature, Art and Architecture
£24.50
Rizzoli International Publications Rebels with La Causa
£42.40
Lexington Books Art and Creativity in a New Guinea Society
Book Synopsis
£999.99
Lexington Books An Object of Seduction: Chinese Silk in the Early
Book SynopsisThe first book-length English-language study focusing on the early modern export of Chinese silk to New Spain from the sixteenth to the seventeenth century, An Object of Seduction compares and contrasts the two regions from perspectives of the sericulture development, the widespread circulation of silk fashion, and the government attempts at regulating the use of silk. Xiaolin Duan argues that the increasing demand for silk on the worldwide market on the one hand contributed to the parallel development of silk fashion and sericulture in China and New Spain, and on the other hand created conflicts on imperial regulations about foreign trade and hierarchical systems. Incorporating evidence from local gazetteers, correspondence, manual books, illustrated treatises, and miscellanies, this book explores how the growing desire for and production of raw silk and silk textiles empowered individuals and societies to claim and redefine their positions in changing time and space, thus breaking away from the traditional state control.Trade ReviewBy looking closely at silk in China and Mexico in the early modern period, this study contributes to our understanding of the development of the global economy. At the center of the book is silk itself: its colors, its textures, and its power to seduce. Duan uses a wide variety of sources—including casta paintings and Chinese biji essays—to show the ways in which silk was produced and consumed. This book is a must-read for scholars interested in the development of the global economy, as well as those interested in textiles and the histories of consumption and the circulation of goods. -- Ann Waltner, University of MinnesotaDuan’s engaging study of silk seamlessly integrates economic, environmental, cultural, and religious documentation in the context of global history. Silk was the foremost Chinese export exchanged for silver imports over centuries. On the supply side, silkworms survive with intense skilled labor and access to mulberry leaves…. On the demand side, sumptuary laws in China and New Spain were circumvented via rampant smuggling and dynamic customer preferences. Duan’s wide-ranging account of diverse silk products is based upon an impressive array of Asian, American, and European sources, rendering it an essential contribution to textile history and global history. -- Dennis O. Flynn, University of the Pacific, Pacific World History InstituteDuan’s study of silk production in China and New Spain offers a long overdue examination of the development of early modern global trade in the Pacific. Meticulously researched and original, Duan’s exploration of the production and consumption of silk provides new insights on how manufacturing techniques and clothing styles spread from China to the Americas. She also examines the tensions that arose as global processes articulated themselves in different ways at the local level. This is a valuable and timely study of an underexamined topic of immense scholarly importance. -- Michael Matthews, Elon UniversityDuan achieves a rare trifecta of world history—serious and measured comparisons, deep analysis of interconnections, and a truly transnational framework. As a research work, this book is significant. As a teaching tool, it has enormous potential to liberate students from their preconceptions about the early modern world and the ways people are connected historically and currently. -- Trevor R. Getz, San Francisco State UniversityTable of ContentsChapter One: Production: The Development of Sericulture and Interacting with the Natural Environment Chapter Two: Trade: Negotiations Between Central Governments and Local Societies Chapter Three: Fashion: The Desire for Luxury Silk, the Color Red, and ForeignnessChapter Four: Regulation: Sumptuary Laws and the Decline of the Traditional Authorities
£999.99
Copperbird Press Captured in Water and Light
£36.00
Tellwell Talent Art as Asset
£18.92
Tellwell Talent Art as Asset
£22.99
Tellwell Talent The Look in Captains Eyes
£17.96
Tellwell Talent La mort dans liconographie orthodoxe
£24.00
Tellwell Talent La mort dans liconographie orthodoxe
£31.50
New Generation Publishing Unveiled
£17.09
£118.80
£16.59
£20.85
£20.89
Legenda Visual and Plastic Poetics
£17.95
Modern Humanities Research Assoc Zolas Painters
£18.14
Modern Humanities Research Association Austrian Studies Vol. 33
£71.25
BAR Publishing The Prehistoric Rock Art of Morocco: A study of its extension, environment and meaning
£63.00
Bloomsbury Publishing PLC Art and War
Book SynopsisThis is a truly encyclopedic survey of artists' responses - both 'official' and personal - to 'the horrors of war'. "Art and War" reveals the sheer diversity of artists' portrayals of this most devastating aspect of the human condition - from the 'heroic' paintings of Benjamin West and John Singer Sargent to brutal and iconic works by artists from Goya to Picasso, and the equally oppositional work of Leon Golub, Nancy Spero and others who reacted with fury to the Vietnam War. Laura Brandon pays particular attention to work produced in response to World War I and World War II, as well as to more recent art and memorial work by artists as diverse as Barbara Kruger, Alfredo Jarr and Maya Lin. She looks finally to the reactions of contemporary artists such as Langlands and Bell to the US invasion in 2001 of Afghanistan and the 'War on Terror'.
£30.43
Bloomsbury Publishing PLC Aftershock: The Ethics of Contemporary Transgressive Art
Book SynopsisAccused by the tabloid press of setting out to 'shock', controversial artworks are vigorously defended by art critics, who frequently downplay their disturbing emotional impact. This is the first book to subject contemporary art to a rigorous ethical exploration. It argues that, in favouring conceptual rather than emotional reactions, commentators actually fail to engage with the work they promote. Scrutinising notorious works by artists including Damien Hirst, Jake and Dinos Chapman, Richard Billingham, Marc Quinn, Sally Mann, Marcus Harvey, Hans Bellmer, Paul McCarthy, Tierney Gearon, and Tracey Emin, "Aftershock" insists on the importance of visceral, emotional and 'ethical' responses. Far from clouding our judgement, Cashell argues, shame, outrage or revulsion are the very emotions that such works set out to evoke. While also questioning the catch-all notion of 'transgression', this illuminating and controversial book neither jumps indiscriminately to the defence of shocking artworks nor dismisses them out of hand.Trade Review'Kieran Cashell discusses artists who use everything from soiled bed linens to blood to dead sharks in their works. Drawing on an impressive array of philosophical ideas, Cashell helps viewers tackle the messy details of art by Damien Hirst, Orlan, Marc Quinn, Tracy Emin, and more, as he provides a probing and subtle defense of the moral value of such recent 'transgressive' art.' - Cynthia A. Freeland Professor and Chair, Department of Philosophy University of Houston, TexasTable of ContentsCONTENTS Illustrations Acknowledgements Introduction The Incompatibility of Aesthetics and Contemporary Art Transgression: the War against Disinterestedness The Ethics of Transgressive Art 1 Everyone Hates a Tourist The Ethical Analysis of Contemporary Art Disinterestedness and Cultural Tourism The Ethical Evaluation of Art: Autonomism versus Moralism A Difficult Case: Marc Quinn and Alison Lapper Transgressive Art Meets the Autonomist-Moralist Model Quinn and Lapper Revisited: A Contextualist Analysis Conclusion 2 Carte Blanche Marcus Harvey’s Myra Preliminary Approaches to the Ethical Analysis of Myra ‘Suffer Little Children’: The Facts of the Case Myra: Portrait of a Serial Killer Postmodernism and the Absence of the Referent Thesis Contextualist Ethical Analysis of Myra Myra and Merited Response Theory Conclusion 3 Atrocity Exhibition Aesthetic Defences of the Work of Jake & Dinos Chapman The Canonic Defence and the Chapmans’ Disasters of War The Transgressive Defence of Transgressive Art Hans Bellmer, Bataille and Authentic Transgression The Trivial Pursuit of Psychoanalysis Evaluation of the Aesthetic Defences of Transgressive Art Acknowledging the Immorality of the Chapmans’ Work Contextual Ethical Evaluation of Zygotic Acceleration Conclusion 4 Fearless Speech Tracey Emin’s Ethics of the Self ‘With Myself Always Myself Never Forgetting’: The Structure of Ethical Subjectivity Exposure without Reserve: Emotional Response and its Moral Significance Shame: An Existential Analysis Concluding Ethical Evaluation: Tracey Emin’s Fearless Speech 5 Horrorshow The Transvaluation of Morality in the work of Damien Hirst Obscene Objects of Pleasurable Fascination Non-Human Animals and Ethical Inclusion Attending to the Other of the Animal: Art and the Ethics of Care Exquisite Corpse: Death and the Sublime Cognitive Immoralism The Artistic Transvaluation of Morality Aftershock: Tragic Sympathy and Meta-Ethical Significance Conclusion Bibliography Index
£30.43
Bloomsbury Publishing PLC Eva Hesse: Longing, Belonging and Displacement
Book SynopsisHere is an important new examination of the work of American German Jewish artist Eva Hesse, one of the most significant figures in twentieth century art. Using exciting new feminist approaches and taking as her starting point two key works, Corby reveals the way in which Hesse has been constructed as a 'woman artist' and explores the overlooked legacy of the Holocaust and refugee life in her art practice. Considering creativity and the feminine, trauma and historiography, and providing a reassessment of Hesse's relationship with her mother and its impact on her work, the book also confirms the importance of drawing practice within Hesse's wider oeuvre.
£32.41
Bloomsbury Publishing PLC Fashioning the City: Paris, Fashion and the Media
Book SynopsisWhile much attention has been paid to the making of Paris in the work of writers and artists, little is known about the city as defined and created by the fashion media. Filling this gap in studies of the French capital, this original and illuminating book focuses on how the French fashion press - with its rich conjunction of words and images - has been able to construct Paris as a leading world fashion city.Based in an original analysis of fashion writing and images in contemporary French fashion magazines and newspapers, the book shows how the fashion media have been central to the consecration of the city of Paris on the fashion map, as well as its celebration in the collective imaginary. Agnes Rocamora explores, for example, the figures of 'la Parisienne' and 'la passante' (the female passer by), and the presence of the Eiffel tower in fashion visuals. She gives attention to the continuum between the French journalistic discourse and that of cultural forms such as films, paintings and literature, thus revealing the persistence across texts and time of visions of Paris and shedding light on the production and reproduction of the Paris myth.Table of ContentsContents Acknowledgements Introduction Part I Chapter 1: Paris, France Chapter 2: Paris, Fashion City Chapter 3: Fashion Discourse Part II Chapter 4: Paris, 'Capital de la Mode' Chapter 5: 'La Parisienne' in 'Vogue' Chapter 6: 'Passante de Mode' Chapter 7: The Eiffel Tower in Fashion Conclusion Bibliography Index
£30.43
Bloomsbury Publishing PLC The Art of the Body: Antiquity and its Legacy
Book SynopsisThe art of the human body is arguably the most important and wide-ranging legacy bequeathed to us by Classical antiquity. Not only has it directed the course of western image-making, it has shaped our collective cultural imaginary - as ideal, antitype, and point of departure. This book is the first concerted attempt to grapple with that legacy: it explores the complex relationship between Graeco-Roman images of the body and subsequent western engagements with them, from the Byzantine icon to Venice Beach (and back again). Instead of approaching his material chronologically, Michael Squire faces up to its inherent modernity. Writing in a lively and accessible style, and supplementing his text with a rich array of pictures, he shows how Graeco-Roman images inhabit our world as if they were our own. The Art of the Body offers a series of comparative and thematic accounts, demonstrating the range of cultural ideas and anxieties that were explored through the figure of the body both in antiquity and in the various cultural landscapes that came afterwards. If we only strip down our aesthetic investment in the corpus of Graeco-Roman imagery, Squire argues, this material can shed light on both ancient and modern thinking. The result is a stimulating process of mutual illumination - and an exhilarating new approach to Classical art history.
£29.44
Bloomsbury Publishing PLC The Anatomy of Fashion: Dressing the Body from the Renaissance to Today
Book SynopsisClothes take the ordinary human body and fashion it into something remarkable. Born to the same anatomical legacy, each generation has used garments to shape itself in the image of its own particular desires. Taking different body parts in turn, The Anatomy of Fashion invites us to view ourselves as we have been in the past. Arguing that analysis needs to aspire to the proliferation and playfulness of fashion itself, the chapters both explore a different aesthetic and examine its wider, and often surprising, implications. In countless different ways, fashion is caught up in the larger picture of its chronological moment. Whether in the mechanisms of production, the politics of consumption, the construction of sexuality or gender, or the formation and reformation of manners and morals, fashion is there. In its provocative conclusion The Anatomy of Fashion turns its attention to dress practices today. Reassembling the anatomical parts, the text places the contemporary body in the historical view and reveals the strangeness that lies at the heart of our own normality.Trade ReviewIt is always a delight to discover a non-fiction writer who can write about history with both intelligence and levity. Although this book is well suited as a textbook, it is an engaging and thoughtful read for even seasoned fashion veterans. Ingrid Mida, Fashion is my MuseTable of ContentsAbbreviations Prologue: Approaching the past 1. Head and neck 2. Breasts and waist 3. Hips and bottom 4. Genitals and legs 5. Skin Epilogue: Fashioning the body today
£34.99
£24.69
Lulu.com Der Sonderbau. Die Errichtung Von Bordellen in Nationalsozialistischen Konzentrationslagern
£14.03
£7.98
Bloomsbury Publishing PLC Victorian Fashion Accessories
Book SynopsisIn Victorian England, women's accessories were always much more than incidental finishing touches to their elaborate dress. Accessories helped women to fashion their identities.Victorian Fashion Accessories explores how women's use of gloves, parasols, fans and vanity sets revealed their class, gender and colonial aspirations. The colour and fit of a pair of gloves could help a middle-class woman indicate her class aspirations.The sun filtering through a rose-colored parasol would provide a woman of a certain age with the glow of youth. The use of a fan was a socially acceptable means of attracting interest and flirting.Even the choice of vanity set on a woman's bedroom dresser reflected her complicity with colonial expansion. By paying attention to the particular details of women's accessories we discover the beliefs embedded in these artefacts and enhance our understanding of the culture at large. Beaujot's engaging prose illuminates the complex identities of the women who used accessories in the Victorian culture that created and consumed them. Victorian Fashion Accessories is essential reading for students and scholars of, history, gender studies, cultural studies, material culture and fashion studies, as well as anyone interested in the history of dress.Trade ReviewIn addition to explaining the history of how these objects were manufactured and sold, Beaujot offers interesting insights into middle class Victorian social customs, prejudices, hopes and fears. This book will appeal both to academics, especially as an introductory text, and to anyone interested in the Victorian period. * TRC *Table of ContentsIntroduction 1. The Glove and the Making of Middle-Class Womanhood 2. The Language of the Fan: Pushing the Boundaries of Middle-Class Womanhood 3. Underneath the Parasol: Umbrellas as Symbols of Imperialism, Race, Youth and Flirtation 4. The Celluloid Vanity Set and the Search for Authenticity Conclusion Notes Bibliography Index
£34.99
Bloomsbury Publishing PLC Victorian Fashion Accessories
Book SynopsisIn Victorian England, women's accessories were always much more than incidental finishing touches to their elaborate dress. Accessories helped women to fashion their identities.Victorian Fashion Accessories explores how women's use of gloves, parasols, fans and vanity sets revealed their class, gender and colonial aspirations. The colour and fit of a pair of gloves could help a middle-class woman indicate her class aspirations.The sun filtering through a rose-colored parasol would provide a woman of a certain age with the glow of youth. The use of a fan was a socially acceptable means of attracting interest and flirting.Even the choice of vanity set on a woman's bedroom dresser reflected her complicity with colonial expansion. By paying attention to the particular details of women's accessories we discover the beliefs embedded in these artefacts and enhance our understanding of the culture at large. Beaujot's engaging prose illuminates the complex identities of the women who used accessories in the Victorian culture that created and consumed them. Victorian Fashion Accessories is essential reading for students and scholars of, history, gender studies, cultural studies, material culture and fashion studies, as well as anyone interested in the history of dress.Table of ContentsIntroduction 1. The Glove and the Making of Middle-Class Womanhood 2. The Language of the Fan: Pushing the Boundaries of Middle-Class Womanhood 3. Underneath the Parasol: Umbrellas as Symbols of Imperialism, Race, Youth and Flirtation 4. The Celluloid Vanity Set and the Search for Authenticity Conclusion Notes Bibliography Index
£100.00
Bloomsbury Publishing PLC Fashion and Art
Book SynopsisFor at least two centuries, fashion and art have maintained a competitive love-hate relationship. Both fashion and art construct imaginary worlds, and use a language of style to invigorate beliefs, perceptions and ideas. Until now the crossovers of fashion and art have received only scattered treatment and suffered from a dearth of theorization. As an attempt to theorize the area, this collection of new and updated essays is the most well-rounded and authoritative to date. Some of the world's foremost scholars in the field are assembled here to explore the art-fashion nexus in numerous ways: from aesthetics and performance to masquerade and media. Original and inspiring, this book will not only secure ‘art-fashion' as a discrete area of study, but also suggest new critical pathways for exploring their continuing cross-pollination. Fashion and Art is essential reading for students and scholars of fashion, art history and theory, cultural studies and related fields.Trade ReviewFinally a book on the complex relationship between art and fashion adopts a different approach. Instead of the usual attempts to decide where the boundary lines might be drawn , this anthology examines the areas where art and fashion meet. These essays are not only vital for scholars and students within both disciplines - for anyone and everyone, this is a highly enjoyable book. * Pamela Church Gibson, Reader in Cultural and Historical Studies, London College of Fashion, University of the Arts, London *A book that both traces, and participates in, the decay of the idea that Fashion is the superficial Other of Art. Between the covers of this book lies all the evidence one might need about the sustained collaboration between modernist artists and fashion designers. Through a wealth of historical detail and conceptual sophistication this book tells a fascinating story whose relevance will lie far beyond Fashion Studies. * Michael Carter *There have been previous books written on Fashion and Art, but none is of this standard. In its reach and sophistication, this book is a stand-alone in its field. For many years, fashion and art have been points of discussion and debate, and the subject of isolated disciplinary studies. Geczy and Karaminas and the key authors assembled here have done us a great service in elevating this topic to an area of serious interdisciplinary study, giving it coherence and circumscription. Fashion and Art is a landmark book for whose appearance couldn't be more timely. * Joseph H. Hancock II. Drexel University, Philadelphia. *A much awaited and exciting collection... bringing together some of the most prominent scholars and curators working within fashion (studies) and art (history), Fashion and Art boldly problematises the conflicting, yet symbiotic relations between art and fashion. * Louise Wallenberg, Director, Centre for Fashion Studies at Stockholm University, Sweden *Using thickly described and critically analyzed case materials, the authors in this edited volume break new ground in the ongoing debate regarding fashion and art. From euromodernities to contemporary, global "fashionscapes," this volume sheds refreshing light on the ambiguities, anxieties, and aesthetic pleasures associated with the fashion-art relationship. * Susan B. Kaiser, Chair of the Division of Textiles and Clothing at the University of California, Davis *Table of ContentsIntroduction: Adam Geczy and Vicki Karaminas 1. Fashion: Valerie Steele, The Museum at the Fashion Institute of Technology, USA 2. Art: Nancy Troy, Stanford University, USA 3. Aesthetics: Llewellyn Negrin, University of Tasmania, Australia 4. Modernity: Adam Geczy, Sydney College of the Arts, Australia 5. Conceptual: Hazel Clark, Parsons the New School of Design, USA 6. Body: Joanne Eicher, University of Minnesota, USA 7. Beauty: Morag Martin, State University of New York, USA 8. Boundaries: Diana Crane, University of Pennsylvania, USA 9. Authenticity: Efrat Tseëlon, Leeds University, UK 10. Performance: Herbert Blau, University of Washington, USA 11. Dressing up: Mary Gluck, Brown University, USA 12. Clothing: Margaret Maynard, University of Queensland, Australia 13. Patronage: Nicky Ryan, University of the Arts, London, UK 14. Painting: Aileen Ribeiro, University of London, UK 15. Image: Vicki Karaminas, University of Technology, Sydney, Australia 16. Exhibition: Alistair O'Neil, Central St Martins, London, UK 17. Curatorial: Barbara Heinemann, Goldstein Museum of Design, University of Minnesota, USA Bibliography Index
£31.99
