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Art and Artifice in Visual Culture: Eighteenth Century to the Present [Kietas viršelis]

Edited by (Washington National Cathedral, USA.), Edited by (University of California, Davis, USA.), Edited by (Université de Fribourg, Switzerland.)
  • Formatas: Hardback, 196 pages, aukštis x plotis: 246x174 mm, weight: 550 g, 2 Line drawings, color; 18 Halftones, color; 36 Halftones, black and white; 20 Illustrations, color; 36 Illustrations, black and white
  • Serija: Routledge Research in Art History
  • Išleidimo metai: 30-Jan-2025
  • Leidėjas: Routledge
  • ISBN-10: 1032756780
  • ISBN-13: 9781032756783
Kitos knygos pagal šią temą:
Art and Artifice in Visual Culture: Eighteenth Century to the PresentDidesnis paveikslėlis
  • Formatas: Hardback, 196 pages, aukštis x plotis: 246x174 mm, weight: 550 g, 2 Line drawings, color; 18 Halftones, color; 36 Halftones, black and white; 20 Illustrations, color; 36 Illustrations, black and white
  • Serija: Routledge Research in Art History
  • Išleidimo metai: 30-Jan-2025
  • Leidėjas: Routledge
  • ISBN-10: 1032756780
  • ISBN-13: 9781032756783
Kitos knygos pagal šią temą:
Pastovi nuoroda: https://www.kriso.lt/db/9781032756783.html
Raktažodžiai:
"This edited volume explores the notion of "artifice" in modern visual culture, ranging from the eighteenth century to the present, in countries around the globe. Artifice has been regarded as a primarily Western phenomenon, playing as it does a central role in European art theory since the Renaissance. This volume proposes that artifice is better understood as a transcultural artistic phenomenon and requires far broader conceptualization across international contexts. It acquaints readers with works of art, visual modes of communication, and concepts originating in France, Germany, the United States, Japan, and China, and includes painting, sculpture, prints, photographs, film, and VR/AR objects. Contributors demonstrate how practices of artifice function as both symbol and form, in parallel and divergent ways, in multiple cultural settings. The book will be of interest to scholars working in art history, visual culture, and material culture"--

This edited volume explores the notion of “artifice” in modern visual culture, ranging from the eighteenth century to the present, in countries around the globe.

Artifice has been regarded as a primarily Western phenomenon, playing as it does a central role in European art theory since the Renaissance. This volume proposes that artifice is better understood as a transcultural artistic phenomenon and requires far broader conceptualization across international contexts. It acquaints readers with works of art, visual modes of communication, and concepts originating in France, Germany, the United States, Japan, and China, and includes painting, sculpture, drawings, prints, photographs, film, and virtual reality/augmented reality (VR/AR) objects. Contributors demonstrate how practices of artifice function as both symbol and form, in parallel and divergent ways, in multiple cultural settings.

The book will be of interest to scholars working in art history, visual culture, and material culture.



This edited volume explores the notion of “artifice” in modern visual culture, ranging from the eighteenth century to the present, in countries around the globe.

Part 1 Artifice and Spectatorship
1. Fractured Perception: Drawings,
Prints, and Verres Casses
2. Rococo Aesthetics and the Problem of Trompe
lOeil
3. Degass "Histories" and the Foreshadowing Artifice of
Self-Candaulism Part 2 Haptic Illusions
4. Suggestive Surfaces: The
Self-Referential Texture of Woodgrain in Japanese Woodblock Prints
5.
Reconsidering the Origins of Yongzheng Guwantu: From the Aniconic Period to
Vimalakrtinirdea Stra
6. Fooling Art History: John F. Peto and William
Harnett Part 3 Alternative Realities
7. First Nations Wampum Belts: A
Colonial Vision of Artifice in Eighteenth-Century New France
8. "An
Opportunity to Grapple with the Picture Plane": The Stereo-Illusions
History of Frustration
9. Self-Reference and Medium-Reference in Virtual
Reality and Trompe lOeil
Sonia Coman, Ph.D. is a Contributor and Consultant at Smarthistory and Director of Digital Engagement at Washington National Cathedral.

Vasile-Ovidiu Prejmerean is a Ph.D. Candidate at Université de Fribourg, Switzerland.

Michael Yonan is a Professor of Art History and Alan Templeton Endowed Chair in the History of European Art, 16001830, at the University of California, Davis.