Clive Cornew - Academia.edu (original) (raw)
Papers by Clive Cornew
The following three articles will investigate, using a descriptive approach, how perceptual theor... more The following three articles will investigate, using a descriptive approach, how perceptual theories have influenced the role of the viewer in visualspectatordom. In the first article, the role of language (English) is examined in relation to the perceptual process. The interaction between language and viewing is then used in the second article to describe the relationship between the viewer and the work of art. In the third article, which describes seven perceptual approaches to visual spectatordom, the author shows how these perceptual theories can be linked to the role which language plays in visual spectatordom. In die volgende drie artikels sal'n beskrywende benadering gevolg word om ondersoek in te stel na hoe betragtersteoriee die rol van die betragter in visuele betragterdom belnvloed het In die eerste artikel sal die rol van taal (Engels) geeksamineer word in verhouding tot die persepuele proses. Hierdie interaksie tussen taal en betragting sal dan in die tweede artikel gebruik word om die verhouding tussen die betragter en die kunswerk te beskryf. In die derde artikel, wat sewe betragterbenaderings tot visuele betragterdom beskryf, wys die skrywer hoe hierdie betragtersteoriee gekoppel kan word aan die rol wat taal in visuele betragterdom speel. 1 These three articles have been reworked from an honours assignment written in 1989 under the guidance of Prof. D.J. van den Berg (UOFS).
This study focuses on Bruegel's parodic legacy in the picaresque tradition. It is based, on the o... more This study focuses on Bruegel's parodic legacy in the picaresque tradition. It is based, on the one hand, on visual rhetoric, visual parody, and the poetics of epideictic rhetoric; and, on the other, on the interaction between epideictic rhetoric's salient features and the Bruegelian themes of camivalisation, the satirising of human folly, and the ontic order of the World Upside Down topos as organising principles. The relationships between the above themes are chronologically traced in various disguises in pictures by representative picaresque artists from the sixteenth to the twentieth centuries: i.e., in Bruegel, Steen, Hogarth, Daumier, and Grosz. Each of these picaresque artists battled with their own times, parodying the paradigmatic targets of the high mode, in both social and genre hierarchy, and in doing so revealed the complexities of the above themes at work within an ever changing context-bound rhetoricity.
This article deals in the main with Jacques Callot's early life in Italy and with his later life ... more This article deals in the main with Jacques Callot's early life in Italy and with his later life in Lorraine where he produced his famous series of eighteen etchings which narrate his perception of seventeenth-century warfare known as Les Miseres et les Malheurs de la Guerre (1633). In contrast to Callot's point of view, the article closes with a brief account of Goya's Los desastres de la guerra, a series of eighty-odd etchings produced in the early nineteenth-century, which can be used to explain 64 a shift in the meaning and experience of warfare between these two centuries: from "misery" to "disaster". Abstrak Hierdie artikel handel hoofsaaklik oor die vroee lewe van Jacques Callot in Italie en sy latere lewe in Lorraine waar hy sy beroemde reeks van agtien etse gemaak het bekend as Les Miseres et les Malheurs de la Guerre (1633), wat sy indruk van sewentiende-eeuse oorlogvoering vertel. In teens telling met Callot se sienswyse, sluit die artikel af met 'n kort beskrywing van Goya se Los desastres de la guerra, 'n reeks van ongeveer tagtig etse wat in die vroee negentiende eeu gemaak is, wat gebruik kan word om 'n klemverskuiwing te verduidelik in die betekenis en ondervinding van oorlogvoering oor twee eeue heen: van "ellen de " tot "rampspoedigheid". When (allot returned home to his native Nancy towards the end of July or the beginning of August 1621 after a twelve year residence in Italy, one of his first complaints was in a letter he wrote to his friend Pandolfini: II ••• si non fusse la speranza che io ho un giorno di tornare ... certo • This article has been reworked from an Honours assignment written in 1989 under the guidance of Prof. OJ. van den Berg (UFS).
South African Journal of Art History, 2000
The viewer of Hogarth's Satire on false perspective notices many instances of perspectival parody... more The viewer of Hogarth's Satire on false perspective notices many instances of perspectival parody in the picture. Taken as a whole, his picture may be regarded as an emblem for viewing Hogarth's picaresque view ofthe world as one based on the themes of false perspective, satire, and inversion. Samevatting Die betragter van Hogarth se Satire on false perspective let op baie instansies in die prent van perspektiewe parodie. Saamgevat, mag sy prent beskou word as 'n embleem vir die beskouing van Hogarth se pikareske wereldbeskouing gebaseer op die temas van vals perspektief, satire, en omkering.
Pieter Bruegel the Eider's paintings De verkeerde wereld, Het gevecht tussen Karnava/ en Vasten, ... more Pieter Bruegel the Eider's paintings De verkeerde wereld, Het gevecht tussen Karnava/ en Vasten, Luilekker/and, Dulle Grief and Landschap, met Icarus' val are interpreted as sixteenth-century parodies using the paradoxia epidemica as a tropic means for interpreting the artist's wit, irony, parody and picaresque stance towards his source material and his milieu. Where applicable, other works relating to a particular argument are also discussed. As a result of this investigation, an original contribution has been made in the literature on both Bruegel and parody as a form of visual communication.
This article deals in the main with Jacques Callot's early life in Italy and with his later ... more This article deals in the main with Jacques Callot's early life in Italy and with his later life in Lorraine where he produced his famous series of eighteen etchings which narrate his perception of seventeenth-century warfare known as Les Miseres et les Malheurs de la Guerre (1633). In contrast to Callot's point of view, the article closes with a brief account of Goya's Los desastres de la guerra, a series of eighty-odd etchings produced in the early nineteenth-century, which can be used to explain 64 a shift in the meaning and experience of warfare between these two centuries: from "misery " to "disaster". Abstrak Hierdie artikel handel hoofsaaklik oor die vroee lewe van Jacques Callot in Italie en sy latere lewe in Lorraine waar hy sy beroemde reeks van agtien etse gemaak het bekend as Les Miseres et les Malheurs de la Guerre (1633), wat sy indruk van sewentiende-eeuse oorlogvoering vertel. In teens telling met Callot se sienswyse, sluit die arti...
Art Historical Work Group of South Africa, 1998
This article deals in the main with Jacques Callot's early life in Italy and with his later life ... more This article deals in the main with Jacques Callot's early life in Italy and with his later life in Lorraine where he produced his famous series of eighteen etchings which narrate his perception of seventeenth-century warfare known as Les Miseres et les Malheurs de la Guerre (1633). In contrast to Callot's point of view, the article closes with a brief account of Goya's Los desastres de la guerra, a series of eighty-odd etchings produced in the early nineteenth-century, which can be used to explain 64 a shift in the meaning and experience of warfare between these two centuries: from "misery" to "disaster". Abstrak Hierdie artikel handel hoofsaaklik oor die vroee lewe van Jacques Callot in Italie en sy latere lewe in Lorraine waar hy sy beroemde reeks van agtien etse gemaak het bekend as Les Miseres et les Malheurs de la Guerre (1633), wat sy indruk van sewentiende-eeuse oorlogvoering vertel. In teens telling met Callot se sienswyse, sluit die artikel af met 'n kort beskrywing van Goya se Los desastres de la guerra, 'n reeks van ongeveer tagtig etse wat in die vroee negentiende eeu gemaak is, wat gebruik kan word om 'n klemverskuiwing te verduidelik in die betekenis en ondervinding van oorlogvoering oor twee eeue heen: van "ellen de " tot "rampspoedigheid". When (allot returned home to his native Nancy towards the end of July or the beginning of August 1621 after a twelve year residence in Italy, one of his first complaints was in a letter he wrote to his friend Pandolfini: II ••• si non fusse la speranza che io ho un giorno di tornare ... certo • This article has been reworked from an Honours assignment written in 1989 under the guidance of Prof. OJ. van den Berg (UFS).
This study focuses on Bruegel's parodic legacy in the picaresque tradition. It is based, on t... more This study focuses on Bruegel's parodic legacy in the picaresque tradition. It is based, on the one hand, on visual rhetoric, visual parody, and the poetics of epideictic rhetoric; and, on the other, on the interaction between epideictic rhetoric's salient features and the Bruegelian themes of camivalisation, the satirising of human folly, and the ontic order of the World Upside Down topos as organising principles. The relationships between the above themes are chronologically traced in various disguises in pictures by representative picaresque artists from the sixteenth to the twentieth centuries: i.e., in Bruegel, Steen, Hogarth, Daumier, and Grosz. Each of these picaresque artists battled with their own times, parodying the paradigmatic targets of the high mode, in both social and genre hierarchy, and in doing so revealed the complexities of the above themes at work within an ever changing context-bound rhetoricity.
The viewer of Hogarth's Satire on false perspective notices many instances of perspectival parody... more The viewer of Hogarth's Satire on false perspective notices many instances of perspectival parody in the picture. Taken as a whole, his picture may be regarded as an emblem for viewing Hogarth's picaresque view ofthe world as one based on the themes of false perspective, satire, and inversion. Samevatting Die betragter van Hogarth se Satire on false perspective let op baie instansies in die prent van perspektiewe parodie. Saamgevat, mag sy prent beskou word as 'n embleem vir die beskouing van Hogarth se pikareske wereldbeskouing gebaseer op die temas van vals perspektief, satire, en omkering.
Pieter Bruegel the Eider's paintings De verkeerde wereld, Het gevecht tussen Karnava/ en Vasten, ... more Pieter Bruegel the Eider's paintings De verkeerde wereld, Het gevecht tussen Karnava/ en Vasten, Luilekker/and, Dulle Grief and Landschap, met Icarus' val are interpreted as sixteenth-century parodies using the paradoxia epidemica as a tropic means for interpreting the artist's wit, irony, parody and picaresque stance towards his source material and his milieu. Where applicable, other works relating to a particular argument are also discussed. As a result of this investigation, an original contribution has been made in the literature on both Bruegel and parody as a form of visual communication.
The following three articles will investigate, using a descriptive approach, how perceptual theor... more The following three articles will investigate, using a descriptive approach, how perceptual theories have influenced the role of the viewer in visualspectatordom. In the first article, the role of language (English) is examined in relation to the perceptual process. The interaction between language and viewing is then used in the second article to describe the relationship between the viewer and the work of art. In the third article, which describes seven perceptual approaches to visual spectatordom, the author shows how these perceptual theories can be linked to the role which language plays in visual spectatordom. In die volgende drie artikels sal'n beskrywende benadering gevolg word om ondersoek in te stel na hoe betragtersteoriee die rol van die betragter in visuele betragterdom belnvloed het In die eerste artikel sal die rol van taal (Engels) geeksamineer word in verhouding tot die persepuele proses. Hierdie interaksie tussen taal en betragting sal dan in die tweede artikel gebruik word om die verhouding tussen die betragter en die kunswerk te beskryf. In die derde artikel, wat sewe betragterbenaderings tot visuele betragterdom beskryf, wys die skrywer hoe hierdie betragtersteoriee gekoppel kan word aan die rol wat taal in visuele betragterdom speel. 1 These three articles have been reworked from an honours assignment written in 1989 under the guidance of Prof. D.J. van den Berg (UOFS).
This study focuses on Bruegel's parodic legacy in the picaresque tradition. It is based, on the o... more This study focuses on Bruegel's parodic legacy in the picaresque tradition. It is based, on the one hand, on visual rhetoric, visual parody, and the poetics of epideictic rhetoric; and, on the other, on the interaction between epideictic rhetoric's salient features and the Bruegelian themes of camivalisation, the satirising of human folly, and the ontic order of the World Upside Down topos as organising principles. The relationships between the above themes are chronologically traced in various disguises in pictures by representative picaresque artists from the sixteenth to the twentieth centuries: i.e., in Bruegel, Steen, Hogarth, Daumier, and Grosz. Each of these picaresque artists battled with their own times, parodying the paradigmatic targets of the high mode, in both social and genre hierarchy, and in doing so revealed the complexities of the above themes at work within an ever changing context-bound rhetoricity.
This article deals in the main with Jacques Callot's early life in Italy and with his later life ... more This article deals in the main with Jacques Callot's early life in Italy and with his later life in Lorraine where he produced his famous series of eighteen etchings which narrate his perception of seventeenth-century warfare known as Les Miseres et les Malheurs de la Guerre (1633). In contrast to Callot's point of view, the article closes with a brief account of Goya's Los desastres de la guerra, a series of eighty-odd etchings produced in the early nineteenth-century, which can be used to explain 64 a shift in the meaning and experience of warfare between these two centuries: from "misery" to "disaster". Abstrak Hierdie artikel handel hoofsaaklik oor die vroee lewe van Jacques Callot in Italie en sy latere lewe in Lorraine waar hy sy beroemde reeks van agtien etse gemaak het bekend as Les Miseres et les Malheurs de la Guerre (1633), wat sy indruk van sewentiende-eeuse oorlogvoering vertel. In teens telling met Callot se sienswyse, sluit die artikel af met 'n kort beskrywing van Goya se Los desastres de la guerra, 'n reeks van ongeveer tagtig etse wat in die vroee negentiende eeu gemaak is, wat gebruik kan word om 'n klemverskuiwing te verduidelik in die betekenis en ondervinding van oorlogvoering oor twee eeue heen: van "ellen de " tot "rampspoedigheid". When (allot returned home to his native Nancy towards the end of July or the beginning of August 1621 after a twelve year residence in Italy, one of his first complaints was in a letter he wrote to his friend Pandolfini: II ••• si non fusse la speranza che io ho un giorno di tornare ... certo • This article has been reworked from an Honours assignment written in 1989 under the guidance of Prof. OJ. van den Berg (UFS).
South African Journal of Art History, 2000
The viewer of Hogarth's Satire on false perspective notices many instances of perspectival parody... more The viewer of Hogarth's Satire on false perspective notices many instances of perspectival parody in the picture. Taken as a whole, his picture may be regarded as an emblem for viewing Hogarth's picaresque view ofthe world as one based on the themes of false perspective, satire, and inversion. Samevatting Die betragter van Hogarth se Satire on false perspective let op baie instansies in die prent van perspektiewe parodie. Saamgevat, mag sy prent beskou word as 'n embleem vir die beskouing van Hogarth se pikareske wereldbeskouing gebaseer op die temas van vals perspektief, satire, en omkering.
Pieter Bruegel the Eider's paintings De verkeerde wereld, Het gevecht tussen Karnava/ en Vasten, ... more Pieter Bruegel the Eider's paintings De verkeerde wereld, Het gevecht tussen Karnava/ en Vasten, Luilekker/and, Dulle Grief and Landschap, met Icarus' val are interpreted as sixteenth-century parodies using the paradoxia epidemica as a tropic means for interpreting the artist's wit, irony, parody and picaresque stance towards his source material and his milieu. Where applicable, other works relating to a particular argument are also discussed. As a result of this investigation, an original contribution has been made in the literature on both Bruegel and parody as a form of visual communication.
This article deals in the main with Jacques Callot's early life in Italy and with his later ... more This article deals in the main with Jacques Callot's early life in Italy and with his later life in Lorraine where he produced his famous series of eighteen etchings which narrate his perception of seventeenth-century warfare known as Les Miseres et les Malheurs de la Guerre (1633). In contrast to Callot's point of view, the article closes with a brief account of Goya's Los desastres de la guerra, a series of eighty-odd etchings produced in the early nineteenth-century, which can be used to explain 64 a shift in the meaning and experience of warfare between these two centuries: from "misery " to "disaster". Abstrak Hierdie artikel handel hoofsaaklik oor die vroee lewe van Jacques Callot in Italie en sy latere lewe in Lorraine waar hy sy beroemde reeks van agtien etse gemaak het bekend as Les Miseres et les Malheurs de la Guerre (1633), wat sy indruk van sewentiende-eeuse oorlogvoering vertel. In teens telling met Callot se sienswyse, sluit die arti...
Art Historical Work Group of South Africa, 1998
This article deals in the main with Jacques Callot's early life in Italy and with his later life ... more This article deals in the main with Jacques Callot's early life in Italy and with his later life in Lorraine where he produced his famous series of eighteen etchings which narrate his perception of seventeenth-century warfare known as Les Miseres et les Malheurs de la Guerre (1633). In contrast to Callot's point of view, the article closes with a brief account of Goya's Los desastres de la guerra, a series of eighty-odd etchings produced in the early nineteenth-century, which can be used to explain 64 a shift in the meaning and experience of warfare between these two centuries: from "misery" to "disaster". Abstrak Hierdie artikel handel hoofsaaklik oor die vroee lewe van Jacques Callot in Italie en sy latere lewe in Lorraine waar hy sy beroemde reeks van agtien etse gemaak het bekend as Les Miseres et les Malheurs de la Guerre (1633), wat sy indruk van sewentiende-eeuse oorlogvoering vertel. In teens telling met Callot se sienswyse, sluit die artikel af met 'n kort beskrywing van Goya se Los desastres de la guerra, 'n reeks van ongeveer tagtig etse wat in die vroee negentiende eeu gemaak is, wat gebruik kan word om 'n klemverskuiwing te verduidelik in die betekenis en ondervinding van oorlogvoering oor twee eeue heen: van "ellen de " tot "rampspoedigheid". When (allot returned home to his native Nancy towards the end of July or the beginning of August 1621 after a twelve year residence in Italy, one of his first complaints was in a letter he wrote to his friend Pandolfini: II ••• si non fusse la speranza che io ho un giorno di tornare ... certo • This article has been reworked from an Honours assignment written in 1989 under the guidance of Prof. OJ. van den Berg (UFS).
This study focuses on Bruegel's parodic legacy in the picaresque tradition. It is based, on t... more This study focuses on Bruegel's parodic legacy in the picaresque tradition. It is based, on the one hand, on visual rhetoric, visual parody, and the poetics of epideictic rhetoric; and, on the other, on the interaction between epideictic rhetoric's salient features and the Bruegelian themes of camivalisation, the satirising of human folly, and the ontic order of the World Upside Down topos as organising principles. The relationships between the above themes are chronologically traced in various disguises in pictures by representative picaresque artists from the sixteenth to the twentieth centuries: i.e., in Bruegel, Steen, Hogarth, Daumier, and Grosz. Each of these picaresque artists battled with their own times, parodying the paradigmatic targets of the high mode, in both social and genre hierarchy, and in doing so revealed the complexities of the above themes at work within an ever changing context-bound rhetoricity.
The viewer of Hogarth's Satire on false perspective notices many instances of perspectival parody... more The viewer of Hogarth's Satire on false perspective notices many instances of perspectival parody in the picture. Taken as a whole, his picture may be regarded as an emblem for viewing Hogarth's picaresque view ofthe world as one based on the themes of false perspective, satire, and inversion. Samevatting Die betragter van Hogarth se Satire on false perspective let op baie instansies in die prent van perspektiewe parodie. Saamgevat, mag sy prent beskou word as 'n embleem vir die beskouing van Hogarth se pikareske wereldbeskouing gebaseer op die temas van vals perspektief, satire, en omkering.
Pieter Bruegel the Eider's paintings De verkeerde wereld, Het gevecht tussen Karnava/ en Vasten, ... more Pieter Bruegel the Eider's paintings De verkeerde wereld, Het gevecht tussen Karnava/ en Vasten, Luilekker/and, Dulle Grief and Landschap, met Icarus' val are interpreted as sixteenth-century parodies using the paradoxia epidemica as a tropic means for interpreting the artist's wit, irony, parody and picaresque stance towards his source material and his milieu. Where applicable, other works relating to a particular argument are also discussed. As a result of this investigation, an original contribution has been made in the literature on both Bruegel and parody as a form of visual communication.