Bøger af Ruth Bernard Yeazell

How the practice of titling paintings has shaped their reception throughout modern historyA picture's title is often our first guide to understanding the image. Yet paintings didn't always have titles, and many canvases acquired their names from curators, dealers, and printmakers-not the artists. Taking an original, historical look at how Western paintings were named, Picture Titles shows how the practice developed in response to the conditions of the modern art world and how titles have shaped the reception of artwork from the time of Bruegel and Rembrandt to the present.Ruth Bernard Yeazell begins the story with the decline of patronage and the rise of the art market in the seventeenth and eighteenth centuries, as the increasing circulation of pictures and the democratization of the viewing public generated the need for a shorthand by which to identify works at a far remove from their creation. The spread of literacy both encouraged the practice of titling pictures and aroused new anxieties about relations between word and image, including fears that reading was taking the place of looking. Yeazell demonstrates that most titles composed before the nineteenth century were the work of middlemen, and even today many artists rely on others to name their pictures. A painter who wants a title to stick, Yeazell argues, must engage in an act of aggressive authorship. She investigates prominent cases, such as David's Oath of the Horatii and works by Turner, Courbet, Whistler, Magritte, and Jasper Johns.Examining Western painting from the Renaissance to the present day, Picture Titles sheds new light on the ways that we interpret and appreciate visual art.

Fascinating and mysterious, the idea of the harem long captured the imagination of the West. The Muslim practice of concealing the women of the household from the eyes of alien men tempted Europeans to extravagant projections of their own wishes and fears. This intriguing book examines the art that resulted. Drawing on a wide range of evidence from the late seventeenth century to the early twentieth century--including travel writing, literature, painting, and even opera--Ruth Bernard Yeazell demonstrates the surprising variety of expressions inspired by the harem of the Western imagination. The book provides both a rich account of changing perceptions of the harem and a demonstration of the tenacious persistence of myth and stereotype. Yeazell shows that Europe's hunger for facts about the harem combined repeatedly with the impulse to fantasize. Masculine erotic fantasies of the harem were reflected in the paintings of Ingres and Delacroix, the writings of de Sade, Byron, and Loti, and the work of anonymous pornographers. Alternate representations portrayed the harem as a prison or a locus of freedom, a place of murderous rivalry or a home of loving sisterhood, a chamber of erotic license or a nightmarish snare of frustration and ennui. And Montesquieu, Mozart, and Charlotte Brontë among others explored in their art the opposition of the imaginary pleasures of the harem to the freely chosen union of a loving couple. In a nuanced reading of Ingres's Bain turc andother works, Yeazell concludes that for some the appeal of the harem lay in the fantasy of eluding time and death.

Explores the 19th century's fascination with Dutch painting, as well as its doubts about an art that had long challenged traditional values. This book shows how persistent tensions between high theory and low genre shaped criticism of novels and pictures alike.