Showing results for "Digital Media" in History & Criticism

The war that we now call the American Revolution was not only fought in the colonies with muskets and bayonets. On both sides of the Atlantic, artists armed with paint, canvas, and wax played an integral role in forging revolutionary ideals.

Art history encompasses the study of the history and development of painting, sculpture, and the other visual arts. In this Very Short Introduction audiobook, Dana Arnold presents an introduction to the issues, debates, and artifacts that make up art history. Beginning with a consideration of what art history is, she explains what makes the subject distinctive from other fields of study and also explores the emergence of social histories of art (such as feminist art history and queer art history).

What does it mean to call something "new"? Why is Western art and culture, even after postmodernism, still so obsessed with the concept? What are the consequences of relying on culture to bring about social change? In this provocative book, David Balzer argues that Western culture was never designed to produce truly new or original artifacts. Rather, we move from fixation to fixation, trend to trend—a cycle of creation and destruction with deep origins in Judeo-Christianity and the paganism that preceded it.

The Gutmanns, as they were known, rose from a small Bohemian hamlet to become one of Germany's most powerful banking families. They also amassed a magnificent, world-class art collection that included works by Degas, Renoir, Botticelli, Guardi, and many, many others. But the Nazi regime snatched from them everything they had worked to build: their remarkable art, their immense wealth, their prominent social standing, and their very lives.

Virtually everyone would agree that Leonardo da Vinci was the most important artist of the High Renaissance. It was Leonardo who singlehandedly created the defining features of Western art: a realism based on subtle shading; depth using atmospheric effects; and dramatic contrasts between light and dark.

Today, art theft is one of the most profitable criminal enterprises in the world, exceeding $6 billion in losses to galleries and art collectors annually. And the masterpieces of Rembrandt van Rijn are some of the most frequently targeted. In Stealing Rembrandts, art security expert Anthony M. Amore and award-winning investigative reporter Tom Mashberg reveal the actors behind the major Rembrandt heists in the last century. Through thefts around the world—from Stockholm to Boston, Worcester to Ohio—the authors track daring entries and escapes from the world's most renowned museums.

Serving as a supplement to the existing scholarship on AIDS activism of the 1980s and 1990s, Viral Cultures is the first book to critically examine the archives that have helped preserve and create the legacy of those radical activities. Marika Cifor charts the efforts activists, archivists, and curators have made to document the work of AIDS activism in the United States and the infrastructure developed to maintain it, safeguarding the material for future generations to remember these social movements and to revitalize the epidemic's past in order to remake the present and future of AIDS.

The celebrated painter Camille Pissarro (1830-1903) occupied a central place in the artistic scene of his time: a founding member of the new school of French painting, he was a close friend of Monet, a longtime associate in Degas's and Mary Cassatt's experimental work, a support to Cezanne and Gauguin, and a comfort to Van Gogh, and was backed by the great Parisian art dealer Paul Durand-Ruel throughout his career. Nevertheless, he felt a persistent sense of being set apart, different, and hard to classify.

This combination of serious artistic engagement with warmth and clarity of prose revels in the experiences and pleasures of art and the body, identity, and community.

Reacting to the tumultuous crises of the twentieth century, especially the horrors of World War I, avant-garde artists and writers sought to destroy art by transforming it into the substance of everyday life. Following the evolution of these revolutionary groups, How to Be Avant-Garde charts its pioneers and radical ideas.

The central argument of Chromophobia is that a chromophobic impulse—a fear of corruption or contamination through color—lurks within much Western cultural and intellectual thought. This is apparent in the many and varied attempts to purge color, either by making it the property of some foreign body—the oriental, the feminine, the infantile, the vulgar, or the pathological—or by relegating it to the realm of the superficial, the supplementary, the inessential, or the cosmetic.

Se recoge aquí brevemente la transformación del arte europeo a partir de la decadencia del Imperio romano. Normalmente suele conocerse como arte prerrománico, en relación con la etapa posterior que marca una nueva revolución del arte occidental. Es una etapa humilde, de escasa producción...

Los imperios de Carlomagno y de los Otones fueron el gran intento germánico medieval por "resucitar" la política y el imperio romanos. Nunca pudieron conseguirlo y sus frutos fueron demasiado humildes para poder compararse en modo alguno con el gran imperio romano. Pero esta idea tuvo hondas...