By Edited by Dana Arnold
Artwork background: modern views on process examines a few of the styles and ways to the self-discipline of paintings background exhibited around the scholarship of all classes during the last 30 years, leading to a go portion of paintings heritage in all its complexities and a well timed survey of its historiography. Newly commissioned essays by means of a bunch of overseas students Takes a trans-disciplinary method of the heritage of paintings historical past every one essay offers unique and incisive arguments The essays mix to offer a inspiration frightening second look of the equipment of artwork historical past
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Additional resources for Art History: Contemporary Perspectives on Method (Art History Special Issues)
The masculinity of the abstract expressionist, their painterly aggression, manifested itself by way of a brief yet brutal interaction with the canvas. Paint was usually ﬂung and daubed from a distance and with speed. The fabricant of Study for Head of George Dyer, 1967, however, carefully pressed an expanse of corduroy against canvas in an act of conjoining that brought the hand of the painter close to the ‘skin’ of the canvas, the threads of the linen. In the paintings by Bacon that make use of textiles to enhance their tactile effects there seem to be two different registers of handling at work.
Photo: r Victoria & Albert Museum, London. were achieved which may have prompted an artist to utilize them. The focus of art criticism at the time and of later art-historical analyses has been on such paint ings as end product rather than on the creative decisions and processes behind them. A desire to mitigate the unmanning engendered by operating in the medium of watercolour sometimes manifested itself in an artist’s choice of materials and techniques. 74 This effect, whilst it might be interpreted as a signiﬁer of femininity within the work, would have been produced from without by an aggressive action coded as masculine.
Vincent Van Gogh, The Complete Letters of Vincent Van Gogh: Volume 3, New York, 1959, 509. Nead, The Female Nude, 56. John F. Douglas, Janusz M. Gasiorek and John A. Swafﬁeld, Fluid Mechanics, Fourth Edition, Harlow, 2001, 9. Irigaray, This Sex which is Not One, 110. Jean-Paul Sartre, Being and Nothingness, trans. Hazel E. Barnes, London, 1989, 607. S E X I N G T H E C A N VA S 92 93 94 95 96 97 98 99 Griselda Pollock, ‘Painting, feminism, history’, in Miche`le Barrett and Anne Phillips, eds, Destabilizing Theory: Contemporary Feminist Debates, Cambridge, 1992, 142.