Francoise Barbe-Gall studied history of art at the Sorbonne and also at the Ecole du Louvre, where she now teaches. She also directs an association called CORETA (Comment Regarder un Tableau), for whom she gives many lectures. She is regularly called upon to participate in management workshops, where her experience of analysing images in relation to publicity and marketing is called upon. Editions de l'Agenda de L'Empresa have published a collection of her articles, and she is the author of several articles on the work of the sculptor Tom Carr. She is the author of How to Talk to Children about Art and How to Understand a Painting, both published in English by Frances Lincoln.
Which of us, when finding ourselves in the presence of a painting, has not sensed that we lack the keys to decipher it? We feel an emotional response, but the work still seems to evade our understanding.
Francoise Barbe-Gall combines a nuanced understanding of the way viewers respond to paintings with a rich knowledge of their context and circumstances of their creation. The result is like a tour of a dazzlingly eclectic museum in the company of a gentle yet authoritative guide.
She takes as her point of departure the impressions that we all feel when confronted by a canvas and takes us on a voyage of discovery fired by her own passionate enthusiasm for the subject. What is the painting’s relationship with the real world? Has the artist idealized nature, or distorted it? Did they want to shock the viewer, or provide consolation? With a clear approach and straightforward yet subtle analysis, the meaning of each work slowly becomes clear.
From Raphael’s penetrating character study of Castiglione, through Hopper’s cinematic take on the wee small hours of the morning Barbe-Gall begins by covering a number of ostensibly realistic works, made from the stuff of everyday life. Going in quite the other direction, she looks at the way paintings can express moments of heightened reality, from the perfection of Boticelli’s Primavera to the arresting glance of Vermeer’s girl with the Pearl Earring. She discusses paintings that distort the visible world (Parmigianino’s Madonna with an improbably long neck to Dali’s melting clocks) and those that sow confusion to make us more vigilant and pay closer attention to the real world (Cezanne’s depiction of a forest glade, or a mysterious fifteenth century altarpiece). Questions of history, style, iconography and composition are not neglected and are dealt in context of the paintings she discusses.
用眼看画 用心感受 《如何看一幅画》,这个书名一下子就吸引我了,正好补充下从小到大所缺乏的艺术细胞,作为一枚文艺女青年,怎么能连画都不会看呢?再加上前一阵刚读过《小顾聊绘画》,感觉相当不错,而这本新书的作者来自艺术之都巴黎,相信一定会有更加专业、更加特别的见...
评分专门下载豆瓣,就是来吐槽翻译的。这翻译的是什么?翻译先生自己能看懂吗?有时句子中莫名出现前文从未提到的主语、有时前后主语宾语内容不搭、有时逻辑不通、还有时,句子本身就有语病……看得我太累了????个人认为,译者是不是可以多了解一些艺术史,再通读一遍全书,把内容...
评分这本书读起来就好像是一份下午茶的甜点。静下心来品尝,很美好的午后。 它结构是 case study 式的,所以确切来说是“如何看这几幅画”,不同于《如何阅读一本书》是明确的方法论式的。 这么看来,更适合下午茶时间了,高兴可以多看几幅,不高兴可以随时放下。 对于每一幅画,...
评分 评分重点在于:直接接近每件作品的能力;就像我们去见某个人之前,不可能事先知道他或她的过去。 克制,是人类庄严的一种表现。 巴尔达萨雷·卡斯蒂利奥内 《廷臣论》 康斯博罗的风景“让人安心,温柔动人” 现代虔诚devotio moderna 《效法基督》Imitation de jesus-christ ...
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