By Edited by Dana Arnold
Paintings historical past: modern views on strategy examines many of the styles and techniques to the self-discipline of artwork historical past exhibited around the scholarship of all sessions during the last 30 years, leading to a go part of paintings background in all its complexities and a well timed survey of its historiography. Newly commissioned essays by means of a bunch of foreign students Takes a trans-disciplinary method of the background of artwork background every one essay offers unique and incisive arguments The essays mix to provide a concept scary re-assessment of the tools of paintings background
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Extra info for Art History: Contemporary Perspectives on Method (Art History Special Issues)
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92 In this reading paint is gendered as masculine and linen as feminine. The canvas represents a troubling lack that must be covered over. This ignores Pollock’s relationship with the substance of the paint in its fluid state. His aggressive handling can be explained as a response to anxiety about touching such a viscous medium. The ‘metaphorics of masculinity’, which T. J. 93 24 S E X I N G T H E C A N VA S The artist’s identification of the canvas with the feminine has been given a contemporary twist by Jack Vettriano, whose Scarlet Ribbons, Lovely Ribbons depicts a woman tied to a paintspattered easel (plate 8).
The eye cannot see in several ways simultaneously, so an object cannot be comprehended instantaneously. Eyes cannot glance and contemplate, scan and focus, concurrently. In similar fashion the eye cannot see both the rabbit and the duck in the trick drawing Ernst Gombrich discusses in Art and Illusion. Gombrich writes that ‘we can switch from one reading to another with increasing rapidity’ but ‘we cannot experience alternative readings at the same time’. See Gombrich, Art and Illusion, London, 1962, 4–5.
To designate it, we should need the old term ‘‘element’’, in 37 P H E N O M E N O L O G Y A N D I N T E R P R E TAT I O N B E Y O N D T H E F L E S H the sense it was used to speak of water, air, earth, and fire, that is, in the sense of a general thing, midway between the spatio-temporal individual and the idea, a sort of incarnate principle that brings a style of being wherever there is a fragment of being. ’6 Merleau-Ponty goes to great pains to expand his notion of perception from individual sense reception to a broader notion of the visible that evokes the body’s touch, motility, and expression and coalesces it into a ‘style of being’.