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The portrait has historically been understood as an artistic representation of a human subject. Its purpose was to provide a visual or psychological likenesses or an expression of personal, familial or social identity; it was typically associated with the privileged individual subject of Western modernity. Recent scholarship in the humanities and social sciences however has responded to the com…
The abundance of images in our everyday lives- and the speed at which they are consumed seems to have left us unable to critique them. To rectify this situation, artists such as Daniel Richter and ArturZmijewski have demonstrated that painting is brilliantly equipped to produce ‘slow images’ that enable, encourage and reward reflection. Here, Helen Westgeest attempts to understand …
The dry, wrinkled skin, crow’s feet and rheumy eyes of old women can be seen universally, yet the actual images and their meaning differ widely. And, the very absence of these old women in certain settings also reveals both a discomfort with the aged and an ease in their invisibility. This is true in writing about art and often in the art itself. The physical markers of aging, even impl…
The Present Prospects of Social Art History represents a major reconsideration of how art historians analyze works of art and the role that historical factors, both those at the moment when the work was created and when the historian addresses the objects at hand, play in informing their interpretations. Featuring the work of some of the discipline’s leading scholars, the volume contains…
The new photo-illustrated magazines of the 1920s traded in images of an ideal modernity, promising motorised leisure, scientific progress, and social and sexual emancipation. This is a pioneering history of these periodicals, focusing on two of the leading European titles: the German monthly UHU, and the French news journal VU. This book is the first major study of UHU, and the first scholarly…
In 2013 Georg Baselitz declared that ‘women don’t paint very well’. Whilst shocking, his comments reveal what Helen Gørrill argues is prolific discrimination in the artworld. In a groundbreaking study of gender and value, Gørrill proves that there are few aesthetic differences in men and women’s painting, but that men’s art is valued at up to 80 per cent …
Why did collectors seek out posters and collect ephemera during the late-nineteenth and the twentieth centuries? How have such materials been integrated into institutional collections today? What inspired collectors to build significant holdings of works from cultures other than their own? And what are the issues facing curators and collectors of digital ephemera today? These are among the que…