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- Author: Norman Bryson
- Publisher: Cambridge University Press
- ISBN-10: 0521276543
- ISBN-13: 9780521276542
- Format: 17.5 x 24.7 x 1.9 cm, softcover
- Language: English
- SAVE -10% with code: EXTRA
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Description
This 1982 book, now recognised as a classic, has done perhaps more than any other single work to change the face of art criticism in the twentieth century. Whereas previous books on French painting looked only at the history of painting as an evolution of artistic styles (baroque, rococo, neo-classical, and so on), Norman Bryson examines the evolution of narrative styles: the kinds of stories paintings tell, the ways they communicate their information, the different techniques of presenting the body as an instrument for incorporating textual messages. The procedure is applied to a number of painters: LeBrun, Watteau, Greuze, David and others, and the author demonstrates that the relation of formal and 'literary' elements was regarded by painters and critics in the eighteenth century as the primary issue to be confronted in the production of a painting.
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- Author: Norman Bryson
- Publisher: Cambridge University Press
- ISBN-10: 0521276543
- ISBN-13: 9780521276542
- Format: 17.5 x 24.7 x 1.9 cm, softcover
- Language: English English
This 1982 book, now recognised as a classic, has done perhaps more than any other single work to change the face of art criticism in the twentieth century. Whereas previous books on French painting looked only at the history of painting as an evolution of artistic styles (baroque, rococo, neo-classical, and so on), Norman Bryson examines the evolution of narrative styles: the kinds of stories paintings tell, the ways they communicate their information, the different techniques of presenting the body as an instrument for incorporating textual messages. The procedure is applied to a number of painters: LeBrun, Watteau, Greuze, David and others, and the author demonstrates that the relation of formal and 'literary' elements was regarded by painters and critics in the eighteenth century as the primary issue to be confronted in the production of a painting.
Reviews