Velázquez is often considered an artist apart: great, but isolated in a palace/ museum in Spain. This highly original book sets him in conjunction with certain conditions of painting in his time and after.
From the seventeenth century to the twentieth, roughly from Rembrandt and Vermeer to Matisse and Picasso, a succession of European painters has taken the studio as the world; that is, the studio is where the world—as it gets into painting—is experienced. Svetlana Alpers first focuses on this retreat into the confines of the studio, then looks at the ways in which the paintings of the Dutch masters and Velázquez acknowledge war and rivalry while offering a way out. The final chapters give a new account of Velázquez’s The Spinners, a ravishing painting which has been eclipsed by interest in the enigmas of Las Meninas. Alpers concentrates on the seventeenth century but also looks back to Velázquez’s predecessors Titian and Rubens and forward to his modern successors. She discusses Velázquez’s resemblance to Manet, whose art also vexes or unsettles, giving us reason to pause and look. The book concludes by asking whether painting continues to do that today.
具體描述
讀後感
評分
評分
評分
評分
用戶評價
最喜歡關於紡織女得部分，看似是關於圖像學的分析，實際上卻深透瞭全然不同的認知方式
评分最喜歡關於紡織女得部分，看似是關於圖像學的分析，實際上卻深透瞭全然不同的認知方式
评分最喜歡關於紡織女得部分，看似是關於圖像學的分析，實際上卻深透瞭全然不同的認知方式
评分最喜歡關於紡織女得部分，看似是關於圖像學的分析，實際上卻深透瞭全然不同的認知方式
评分最喜歡關於紡織女得部分，看似是關於圖像學的分析，實際上卻深透瞭全然不同的認知方式
相關圖書
本站所有內容均為互聯網搜索引擎提供的公開搜索信息，本站不存儲任何數據與內容，任何內容與數據均與本站無關，如有需要請聯繫相關搜索引擎包括但不限於百度，google,bing,sogou 等
© 2025 qciss.net All Rights Reserved. 小哈圖書下載中心 版权所有