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Introduction Paul Duro 1. The narrativity of the frame Wolfgang Kemp 2. Posed spaces: framing in the age of the world picture John Gillies 3. Containment and transgression in French seventeenth-century ceiling painting Paul Duro 4.... more
Introduction Paul Duro 1. The narrativity of the frame Wolfgang Kemp 2. Posed spaces: framing in the age of the world picture John Gillies 3. Containment and transgression in French seventeenth-century ceiling painting Paul Duro 4. Framing hegemony: economics, luxury and family continuity in the country house portrait Shearer West 5. The frame of representation and some of its figures Louis Marin 6. Brain of the earth's body: museums and the framing of modernity Donald Preziosi 7. Framing the fragment: archaeology, art, museum Wolfgang Ernst 8. The framing of material: around Degas' Bureau de Coton Stephen Bann 9. Frames within frames: on Matisse and 'the Orient' Deepak Anath 10. The witness in the errings of contemporary art Jonathan Bordo 11. In and around the 'Second Frame' John C. Welchman 12. Interpreting feminist bodies: the unframeability of desire Amelia Jones 13. Leaving nothing to imagination: obscenity and postmodern subjectivity Jill Bennett 14. Postmonumentality: frame, grid, space, quilt Rico Franses.
Research Interests: History, Philosophy, Aesthetics, Art History, Rhetoric, and 5 moreArt, Modernity, Globality, Art Theory and Criticism, and nothing
6 Notes on Contributors 8 Chapter 1 Why Imitation, and Why Global? Paul Duro 30 Chapter 2 Post-Western Poetics: Postmodern Appropriation Art in Australia Ian McLean 50 Chapter 3 Essentially the Same: Eduardo Costa s Minimal Differences... more
6 Notes on Contributors 8 Chapter 1 Why Imitation, and Why Global? Paul Duro 30 Chapter 2 Post-Western Poetics: Postmodern Appropriation Art in Australia Ian McLean 50 Chapter 3 Essentially the Same: Eduardo Costa s Minimal Differences and Latin American Conceptualism Patrick Greaney 68 Chapter 4 Like Father, Like Son: Bernini s Filial Imitation of Michelangelo Carolina Mangone 90 Chapter 5 Navajo Sandpainting in the Age of Cross-Cultural Replication Janet Catherine Berlo 110 Chapter 6 Copying and Theory in Edo-Period Japan (1615-1868) Kazuko Kameda-Madar 130 Chapter 7 Original Imitations for Sale: Dafen and Artistic Commodification Vivian Li 146 Chapter 8 The Temporal Logic of Citation in Chinese Painting Martin J. Powers 166 Chapter 9 Ingemination Richard Shiff 186 Chapter 10 The Image Valued As Found and the Reconfiguring of Mimesis in Post-War Art Alex Potts 208 Chapter 11 History Lessons: Imitation, Work and the Temporality of Contemporary Art Jonathan Bordo 229 Index
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Research Interests: Psychology and Philosophy
... VOLUME/EDITION: PAGES (INTRO/BODY): xii, 300 p. SUBJECT(S): Académie royale de peinture et de sculpture (France); Painting, Modern; 17th-18th centuries; France; Classicism in art. DISCIPLINE: No discipline assigned. LC NUMBER:... more
... VOLUME/EDITION: PAGES (INTRO/BODY): xii, 300 p. SUBJECT(S): Académie royale de peinture et de sculpture (France); Painting, Modern; 17th-18th centuries; France; Classicism in art. DISCIPLINE: No discipline assigned. LC NUMBER: N332.F83 P3335 1997. HTTP: ...
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Schwarz's humanism and pluralism allow him to make the salutary point that not only do different readers respond differently to the same text but that the same reader ought to respond differently to different texts. On the other hand,... more
Schwarz's humanism and pluralism allow him to make the salutary point that not only do different readers respond differently to the same text but that the same reader ought to respond differently to different texts. On the other hand, perhaps because he is anxious not to become the perpetrator of limited dieories himself, he relies rather too heavily on rhetorical questions addressed to the reader: "Is it not ... ?" or "Do we not ... ?" echo a bit tiresomely. The two essays just mentioned, plus the first chapter, "Humanistic Formalism: A Theoretical Defense" seem to me the most valuable portions of the book. The fourth chapter, "The Narrative of Paul de Man" is a thoughtful reflection on the revelation of de Man's wartime anti-Semitic articles. The final
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This paper argues that Edmund Burke, author of An Enquiry into the Origin of our Ideas of the Sublime and the Beautiful (1757), privileges word over image as the vehicle for the communication of the sublime. Basing his argument on his own... more
This paper argues that Edmund Burke, author of An Enquiry into the Origin of our Ideas of the Sublime and the Beautiful (1757), privileges word over image as the vehicle for the communication of the sublime. Basing his argument on his own distinction between “clearness” and “obscurity” in representation, he observes that painting can do no more that reproduce appearances, whereas language, particularly epic poetry, allows for an experience of the subject that is not tied to mimetic referentiality. The paper also considers the writings of Joseph Addison, G. E. Lessing and Immanuel Kant, and the work of artists and poets including James Barry, John Milton, Henry Fuseli, John Martin and William Shakespeare.
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The literature of travel abounds in descriptions—ecstatic, enthusiastic, lukewarm, perplexed, disappointed, sometimes downright cantankerous—of voyagers' impressions of the places, monuments, and artworks of the Italian Renaissance... more
The literature of travel abounds in descriptions—ecstatic, enthusiastic, lukewarm, perplexed, disappointed, sometimes downright cantankerous—of voyagers' impressions of the places, monuments, and artworks of the Italian Renaissance and classical antiquity. From the splenetic Scottish novelist Tobias Smollett (1721–1771), whose disappointment at all things foreign (and generally unpleasant) began at Boulogne, to the awe Johann Wolfgang von Goethe (1749–1832) evinced on seeing Rome in 1786 after long years of anticipation, travelers without number attest to the travails of the journey to distant lands and to the experience of the encounter once there.1
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Past and Present in Art and Taste: Selected Essays by Francis Haskell, New Haven and London: Yale University Press, 1987, 255 pp., 215 b. & w. illus., £20
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Retaining the Original: Multiple Originals, Copies, and Reproductions, Studies in the History of Art, Volume 20, National Gallery of Art, Washington, 1989, distrib. Hanover and London: University Press of New England, 180 pp., 1 colour,... more
Retaining the Original: Multiple Originals, Copies, and Reproductions, Studies in the History of Art, Volume 20, National Gallery of Art, Washington, 1989, distrib. Hanover and London: University Press of New England, 180 pp., 1 colour, 123 b. & w. illus., $19.95
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Abstract While Denis Diderot’s pronouncements on art have received a great deal of critical attention, they have not been sufficiently studied from the point of view of prevailing approaches to imitation. Consideration of his salon... more
Abstract While Denis Diderot’s pronouncements on art have received a great deal of critical attention, they have not been sufficiently studied from the point of view of prevailing approaches to imitation. Consideration of his salon criticism reveals that questions of mimesis and imitation are fundamental to an understanding of his views on painting and to the destination of art in eighteenth-century France. Whether his objections are addressed to artists who failed to “follow the poet,” or to those who (in his view) neglected nature, Diderot’s frequently censorious remarks invariably revolve around issues that found their most developed expression in the humanistic theory of painting. As a result, his criticism raises questions about the continuing viability of a hierarchy of genres that placed grand narrative painting at its apex, and treated the minor genres as subordinate parerga to “le grand genre” of history painting. Seeking an accommodation for these “lesser” genres, Diderot developed critical concepts that sought to treat genre painting with the same seriousness as subjects drawn from mythology and the Bible, and led to his suggestion for an intermediate genre to reconcile these conflicts that he called, in his writings on drama, “le genre sérieux.” Diderot’s suggestion leads ineluctably to his advocacy for the work of Jean-Baptiste Greuze and Jean-Baptiste Chardin, whose domestic interiors and dead game were, for him, less an imitation of nature than a recreation of nature itself.
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... 42 – Gotthold Ephraim Lessing, Laocoön: An Essay on the Limits of Painting and Poetry, translated with introduction and notes by Edward Allen ... as Copyists', in Il luogo ed il ruolo della città di Bologna tra Europa... more
... 42 – Gotthold Ephraim Lessing, Laocoön: An Essay on the Limits of Painting and Poetry, translated with introduction and notes by Edward Allen ... as Copyists', in Il luogo ed il ruolo della città di Bologna tra Europa continentale e Mediterranea, ed. Giovanna Perini (Bologna ...
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Introduction to Theorizing Imitation in the Visual Arts: Global Contexts. A selection of new essays on theory and practice of imitation in western art and beyond.
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A consideration of how Poussin and Cézanne approach the representation of nature in their paintings.
Research Interests: Art History and Art
Review of Frame Work: Honour and Ornament in Italian Renaissance Art, by Alison Wright, New Haven and London: Yale University Press, 2019, 352 pp., 211 illus., hardback, $65
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Despite a growing body of recent work, imitation in art is still commonly confused with the practice of copying to the detriment of the many kinds of replication that are thereby negatively compared with notions of originality and... more
Despite a growing body of recent work, imitation in art is still commonly confused with the practice of copying to the detriment of the many kinds of replication that are thereby negatively compared with notions of originality and authenticity. From antiquity to the present, the theory and practice of imitation has been central to the construction of art through many forms of repetition, such as appropriation, replication, quotation, reproduction, citation and reference. Yet it is the act of repetition that confers the quality of originality and authenticity on the model in the first place -a gesture of demarcation that serves to establish a hierarchy of value between copy and model and reinforce the perception that all forms of imitation necessarily run counter to the ideas of innovation or emulation. The present collection challenges these assumptions, and seeks to reveal the nature and scope of imitation in the visual arts by bringing to bear a global perspective that reveals the ubiquity and homology of the practices of imitation from within the various historical and geographical positions investigated in these essays.
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... 42 – Gotthold Ephraim Lessing, Laocoön: An Essay on the Limits of Painting and Poetry, translated with introduction and notes by Edward Allen ... as Copyists', in Il luogo ed il ruolo della città di Bologna tra Europa... more
... 42 – Gotthold Ephraim Lessing, Laocoön: An Essay on the Limits of Painting and Poetry, translated with introduction and notes by Edward Allen ... as Copyists', in Il luogo ed il ruolo della città di Bologna tra Europa continentale e Mediterranea, ed. Giovanna Perini (Bologna ...
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In 1830, four years before a decision by Adolphe Thiers, then Minister of the Interior, to create a 'Musee des etudes' in the Ecole des beaux-arts, Emile Barrault, author of a Saint-Simonian tract on the role of art, complained... more
In 1830, four years before a decision by Adolphe Thiers, then Minister of the Interior, to create a 'Musee des etudes' in the Ecole des beaux-arts, Emile Barrault, author of a Saint-Simonian tract on the role of art, complained that museums were 'catacombes, oiu gisent pele-mele tous les monuments des arts, qui autrefois ont remue les imaginations'. In a passage which addresses the central issue of this paper 196 the status of the art work within the museum environment 196 Barrault accuses museums of alienating art from society:
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The literature of travel abounds in descriptions—ecstatic, enthusiastic, lukewarm, perplexed, disappointed, sometimes downright cantankerous—of voyagers' impressions of the places, monuments, and artworks of the Italian Renaissance... more
The literature of travel abounds in descriptions—ecstatic, enthusiastic, lukewarm, perplexed, disappointed, sometimes downright cantankerous—of voyagers' impressions of the places, monuments, and artworks of the Italian Renaissance and classical antiquity. From the splenetic Scottish novelist Tobias Smollett (1721–1771), whose disappointment at all things foreign (and generally unpleasant) began at Boulogne, to the awe Johann Wolfgang von Goethe (1749–1832) evinced on seeing Rome in 1786 after long years of anticipation, travelers without number attest to the travails of the journey to distant lands and to the experience of the encounter once there.1
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6 Notes on Contributors 8 Chapter 1 Why Imitation, and Why Global? Paul Duro 30 Chapter 2 Post-Western Poetics: Postmodern Appropriation Art in Australia Ian McLean 50 Chapter 3 Essentially the Same: Eduardo Costa s Minimal Differences... more
6 Notes on Contributors 8 Chapter 1 Why Imitation, and Why Global? Paul Duro 30 Chapter 2 Post-Western Poetics: Postmodern Appropriation Art in Australia Ian McLean 50 Chapter 3 Essentially the Same: Eduardo Costa s Minimal Differences and Latin American Conceptualism Patrick Greaney 68 Chapter 4 Like Father, Like Son: Bernini s Filial Imitation of Michelangelo Carolina Mangone 90 Chapter 5 Navajo Sandpainting in the Age of Cross-Cultural Replication Janet Catherine Berlo 110 Chapter 6 Copying and Theory in Edo-Period Japan (1615-1868) Kazuko Kameda-Madar 130 Chapter 7 Original Imitations for Sale: Dafen and Artistic Commodification Vivian Li 146 Chapter 8 The Temporal Logic of Citation in Chinese Painting Martin J. Powers 166 Chapter 9 Ingemination Richard Shiff 186 Chapter 10 The Image Valued As Found and the Reconfiguring of Mimesis in Post-War Art Alex Potts 208 Chapter 11 History Lessons: Imitation, Work and the Temporality of Contemporary Art Jonathan Bordo 229 Index
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While Denis Diderot’s pronouncements on art have received a great deal of critical attention, they have not been sufficiently studied from the point of view of prevailing approaches to imitation. Consideration of his salon criticism... more
While Denis Diderot’s pronouncements on art have received a great deal of critical attention, they have not been sufficiently studied from the point of view of prevailing approaches to imitation. Consideration of his salon criticism reveals that questions of mimesis and imitation are fundamental to an understanding of his views on painting and to the destination of art in eighteenth-century France. Whether his objections are addressed to artists who failed to “follow the poet,” or to those who (in his view) neglected nature, Diderot’s frequently censorious remarks invariably revolve around issues that found their most developed expression in the humanistic theory of painting. As a result, his criticism raises questions about the continuing viability of a hierarchy of genres that placed grand narrative painting at its apex, and treated the minor genres as subordinate parerga to “le grand genre” of history painting. Seeking an accommodation for these “lesser” genres, Diderot developed...
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1. Inscribing authority 2. Le Brun and history painting 3. Discourse 4. The Academy and ceiling painting 5. Rhetorical transformations.
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While Denis Diderot’s pronouncements on art have received a great deal of critical attention, they have not been sufficiently studied from the point of view of prevailing approaches to imitation. Consideration of his salon criticism... more
While Denis Diderot’s pronouncements on art have received a great deal of critical attention, they have not been sufficiently studied from the point of view of prevailing approaches to imitation. Consideration of his salon criticism reveals that questions of mimesis and imitation are fundamental to an understanding of his views on painting and to the destination of art in eighteenth-century France.
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Review of Frame Work: Honour and Ornament in Italian
Renaissance Art, by Alison Wright, New Haven and
London: Yale University Press, 2019, 352 pp., 211
illus., hardback, $65
Renaissance Art, by Alison Wright, New Haven and
London: Yale University Press, 2019, 352 pp., 211
illus., hardback, $65
Review of Modern Painters, Old Masters: The Art of Imitation from the Pre-Raphaelites to the First World War, by Elizabeth Prettejohn, New Haven and London: Yale University Press, 2017, 288 pp., 130 col. and 30 b. & w. illus., hardback,... more
Review of Modern Painters, Old Masters: The Art of
Imitation from the Pre-Raphaelites to the First
World War, by Elizabeth Prettejohn, New Haven
and London: Yale University Press, 2017, 288 pp.,
130 col. and 30 b. & w. illus., hardback, $75.00
Imitation from the Pre-Raphaelites to the First
World War, by Elizabeth Prettejohn, New Haven
and London: Yale University Press, 2017, 288 pp.,
130 col. and 30 b. & w. illus., hardback, $75.00