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    Bryson-Looking at the overlooked

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    29 views96 pages

    Bryson-Looking at The Overlooked

    Uploaded by

    Maralejandra HT

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
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    of 96
    Looking at the Overlooked Four Essays on Still Life Painting Norman Bryson Harvard University Press Cambridge, Masha Fir er die Fin pean the Ute’ St of Ame 292 tyr Unventy Pres Coppi © Nexmin Ban 199 Orgy pb Great rin ino by eon Books Lon Alleighsrrved| Pn nthe Ui King ‘Thbok parted on open Feld Seth an ac eck Ine Fry c's heal nod smear chose fers ty Uo Corrs aan Pain Dt yer Noman 1949- Ting! hovel or esas te pti Nexmn Bee Inde blogg ene p79) SBibepuning Tae Contents Foreword 7 Xenia «7 Rhopography 60 Abundance 96 Sil Lfe and Feminine’ Space 136 References 179 Ustofllutratins 190 Foreword The ft dificity fixing any book on sil ite p As opening move, inthe trunplon tat ili ss. OF ‘weal know hat stil fe lok [ih lindo age be considered 3 i real reltionsi, any, between the tally, curly ard he ouside of modem ei st anevet ‘of eal discourse cenes atom th eal 6008by ‘my arendy fds pace for il ie in "e sac ebates ‘The need to do s0 may infact be a mate of some urgeny. Although the gee of sles a8 obvious pec of ur basic furl furitre as history pining or landscape ~ or Westerns ethers is neta arindispensbilty have not helped I generate much corresponding light (r eatin ental dis- ‘ction thar aliays been he east thewised ofthe genres rd nen the academies hat aunehed the fist theoretical accounts 1 painting exe to mention tall they dso spraying Billie was alway a the bottom ofthe hierarchy. unworthy the kindof sper atetion reserved for history pati rthe gid rare, Art history a aught in most universes Ferpeuates the comparative snaference of ts antecedents in the academies stil fe contins to stragle wih thepresaice that wf of course) would be abject worth investigating, the rei stakes le eewhere in the higher gees where (of urs) things fave always been more interesting. I is il thought ofinamnanner of which Reynolds would have approved ts no git the province ofthe serous and ambos student tot relly the mont seomsnendable tpi for a dseation that ‘would wh to show ts profesional mete “Though the tentieth century has see tremendous prolifer ation of exhibitions of al He and of catalogues and monographs deling with alters of chroology. provenance fin! coonosseumhp. meprtation of still he has generally Tanguihed on al sides Hoe Reynols i not ike ourselves: be had psscnate reason fr his condemnation of sil fe. and the energy of inerpetation inthe Discuss i kama co pared wth he ple avoidance of interpretation in today aver ge ail Me catalogue (where shal invocations of sas ties consist the sole ical act) lterpetation is sill fot part of att history's customary slf-dfintion: the ietenth century dream of sett and the modernist ‘ream of pure foros have together reaed in 2 widespread Slenang of ential speech conceming painting. “Cities Is that Poppe to contemporary ar; snot port of art hist Tt stead of urna, “The condone hee contrast rather atarly with those prevail ing inthe ler humanities, Students iterate grates rd Atulrgradates ale regully range for hous over sues ‘fnterpretation; and they are able to do this, so much more tha stants of at Hato, rok because painting s somehow mite but beaure sch dco expected of thee: this s what they are tained to do. At one point in The Pola Unc Freie meson desribes the bewildering varity of competing and cormensurble options avaiable o intr preter of Covad ncuding the romance’ or mase-ctural eading of Conead axa write fof adventure fle sen natives, and ‘poplar’ yams and the syle analysis of Cond asa practitioner of hat we sil shorty fe propery ‘impressionist’ wil to syle ‘Alongside thee, homer, and not related 0 ther in any modal evden way, wecan dieting other nue ins of readings: the myth for ftance sn whch [Noss agen asthe atcaation of the archetype cf buried treasre the Freudian which the fare of Oedipal eck thom is aie by the gly excction of Conrad tno 00 eoes i and Nostromo) by tc pit alhers the eth {alin which Conrad text ae taken tery as books which fave the ius of heim and courage of honoe ane ome the ego-psyhologial. in whith he story of en cinerea: the search for ety o¢pyehi uty: the tcl in which the omnipresent theres of the ‘rearinglessness and absurdity of human existence are fre ‘rounded as message’ and a work vew’; and aly, move {Semi than any these, the Nitschea eading of Con rads pot vison ae etrgle agaist renner the suctralst-esual reading =. ofthe mpossbity of native beginnings and as the iereasng relexviy and problematizaionoflinearnareative tac" ithe novels of Conrad ae a focus of analytic eng in iter sure, one might perhaps expect nat History to find» compar ‘he variety and complet of dcusson around Raphael, 3, ‘rings. Forlorn hope Which sotto say that such debates Seineapable of occuring nat history: Wein! Las Manas tnd Manet Olympia were ites of temendods controversy in the 1p8oe and there ace presently mor wars bing waged over the interpretation of Dutch pining, md aipetenth-cenry French painting and modernism postmodernism. fo nae oly the obvious, Bat sil Me has not featured in these vigorous and Fourshing debe, Prhape athe gene atthe test remove from naraive, i ste hardest for etal discourse to reach ‘But certaly the gene hstovkally constructed asthe lowest Category of picture making, has never had much chance of owing debate anyway, and in the past decades the vac ha tended to be filled by a single volae, Charles Strings sil sell turer de ati sors? ‘There is room, then for more ssork on stile; to speak plainly tis under interpreted. and the present sty manage fo convince anyone Hut ities gente worth analysing, and rewarding to analyse gee toy wil have done ther bi Tstilnceds saying: pli isan art made nt ory of pigments fm a sirface ut of signs in semantic space. The messing of {pitt never nserbed on ty srice a brush strokes 6 teal aie i the collaboration betwen sig (aul or ver bal) and interpreters. And reading, here. 6 not something flea an options supplement oan image tht x already com plete and sl suficet. It ab fundamental an element 99 the Pain, and thee ie no viewer who locks at 2 panting whois ot aleady engaged in interpreting it even (especial) the ‘ewer wh locks for pure for. But ths book isnot meant lobeapokenicabout the semiotis of at ls goal smore prac fal to try to develop the crite discourse around sil ie Through a group of essays wich engage with he paintings in the tems of our own time My fist response to the objection that stl ie has no unity ‘isi of modem cial dicnrset therefore to ogre that ‘ial discourse sided one site in which sil e emergee fr coherent category but then to add that the dsssion however not ye so chly sedimented tha nothing reaine to bbesaid Onthe contrary, discussion of stilfevenats oppressed hlinhbted it van vitally strangled a bith inthe academies that related stil eto the lowest level of at and i il ‘marginale in todays professional at Wistory, My second response to ay tht not only ncn tha the category possesses coierence, but inthe production of the painting: themselves. Taxonomy isthe name gvento the banc of know lee tht deal with elastin, the taxonomies 3 body of phenomena plant, ail) ar groups the int species nd genera according o entra which the taxonomst cates focthe purposes of analy But til ie nots mon ete gory ofthis Kind. snot the product of an analy which oes along 26 it ere, only after the fat Stile painters les tei individual works to appear ay stl Me and to take thei place In snes of work of the Same Kind Much of thr ‘meaning comes frm the inflections they ae able o introduce into the fil of previous work. The sil fe of Chri ae Aig econ adaptations ofl Me convertons St developed inthe Nethernd inthe sevenlenth cent. The iy lle fd Hee and Wim Kal depen on rot types athe sls ping whch they mely a ph ‘peti dion nthe same way tht Nats nt ook

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