Looking to Connect with European Paintings: Visual Approaches for Teaching (original) (raw)
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This resource serves as an educational guide for teachers and scholars focusing on European paintings from The Metropolitan Museum of Art's collection, spanning from approximately 1250 to 1900. It emphasizes visual analysis and thematic exploration through four main themes: Illusion, Borders, Movement, and Illumination, facilitating connections between artworks, historical contexts, and contemporary experiences. The guide encourages a greater appreciation of the craft and status of painting throughout different periods, highlighting the evolution of artistic merit and the cultural significance of visual arts.
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Painting can only be thought in relation to the image. And yet, with (and within) painting what continues to endure is the image of painting. While this is staged explicitly in, for example, paintings of St. Luke by artists of the Northern Renaissance-e.g., Rogier van der Weyden, Jan Gossaert, and Simon Marmion-the same concerns are also at work within both the practices as well as the contemporaneous writings that define central aspects of the Italian Renaissance. The aim of this paper is to begin an investigation into the process by which painting stages the activity of painting. This forms part of a project whose aim is an investigation of the way philosophy should respond to the essential historicity of art (where the latter is understood philosophically).
Review of Craig Staff's book 'Painting, History and Meaning: Sites of Time'
caa reviews, 2022
Painting, History and Meaning is an ambitious book that seeks to redress conventional understandings of temporality within the study of contemporary painting. Craig Staff takes his “interpretative framework” (4) from the philosopher Jean-François Lyotard’s notion that painting occupies several “sites of time” simultaneously. Staff seeks neither to replicate the arbitrary attitude to temporality apparent in some works of postmodern eclecticism nor to reduce painting to the linear history of progress inherent in modernism and modernist criticism. His approach is rather to construct an alternative that opens up the differences in time inherent in the object that is the painting. Drawing on the work of other commentators, critics, and exhibitions, the book highlights the extent to which examples of contemporary painting are able to “converse with paintings of the past” (3) rather than simply quote, sample, or remix their signifiers from the privileged position of now.
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