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001 208989
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008 230127t20152016nju fo d z eng d
019 _a(OCoLC)1024017525
019 _a(OCoLC)1029837361
019 _a(OCoLC)1032693914
019 _a(OCoLC)1037980262
019 _a(OCoLC)1041979315
019 _a(OCoLC)1046619532
019 _a(OCoLC)1047030115
019 _a(OCoLC)1049620718
019 _a(OCoLC)1054880540
020 _a9780691165271
_qprint
020 _a9781400873463
_qPDF
024 7 _a10.1515/9781400873463
_2doi
035 _a(DE-B1597)9781400873463
035 _a(DE-B1597)459998
035 _a(OCoLC)984625841
040 _aDE-B1597
_beng
_cDE-B1597
_erda
050 4 _aN7560
_b.Y43 2015eb
072 7 _aART000000
_2bisacsh
082 0 4 _a702.8
_223
084 _aonline - DeGruyter
100 1 _aYeazell, Ruth Bernard
_eautore
245 1 0 _aPicture Titles :
_bHow and Why Western Paintings Acquired Their Names /
_cRuth Bernard Yeazell.
250 _aPilot project. eBook available to selected US libraries only
264 1 _aPrinceton, NJ :
_bPrinceton University Press,
_c[2015]
264 4 _c©2016
300 _a1 online resource (352 p.) :
_b16 color illus. 108 halftones.
336 _atext
_btxt
_2rdacontent
337 _acomputer
_bc
_2rdamedia
338 _aonline resource
_bcr
_2rdacarrier
347 _atext file
_bPDF
_2rda
505 0 0 _tFrontmatter --
_tCONTENTS --
_tILLUSTRATIONS --
_tPrologue (This is not a title) --
_tI. Naming and Circulating: Middlemen --
_tII. Reading and Interpreting: Viewers --
_tIII. Authoring as well as Painting: Artists --
_tACKNOWLEDGMENTS --
_tNOTES --
_tINDEX
506 0 _arestricted access
_uhttp://purl.org/coar/access_right/c_16ec
_fonline access with authorization
_2star
520 _aA 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.
538 _aMode of access: Internet via World Wide Web.
546 _aIn English.
588 0 _aDescription based on online resource; title from PDF title page (publisher's Web site, viewed 27. Jan 2023)
650 0 _aPainting.
650 0 _aTitles of works of art.
650 7 _aART / General.
_2bisacsh
653 _aAllegory.
653 _aAllusion.
653 _aAltarpiece.
653 _aAmbroise Vollard.
653 _aAnecdote.
653 _aArt critic.
653 _aArt criticism.
653 _aArt dealer.
653 _aArt history.
653 _aArt world.
653 _aArthur Danto.
653 _aArtists Rights Society.
653 _aBernard Berenson.
653 _aBourgeoisie.
653 _aCanvas.
653 _aClassical mythology.
653 _aClaude Lorrain.
653 _aClaude Monet.
653 _aCollege Art Association.
653 _aContemporary art.
653 _aCosimo de' Medici.
653 _aCubism.
653 _aCurator.
653 _aDesk.
653 _aDrapery.
653 _aDulcinea del Toboso.
653 _aEloquence.
653 _aEmblem book.
653 _aEmblem.
653 _aEngraving.
653 _aEvocation.
653 _aFrancisco Goya.
653 _aGenre painting.
653 _aGerrit Dou.
653 _aGrosvenor Gallery.
653 _aGruel.
653 _aGuercino.
653 _aGustave Courbet.
653 _aHistory painting.
653 _aIconography.
653 _aIllustration.
653 _aImpressionism.
653 _aIsabella d'Este.
653 _aJ. M. W. Turner.
653 _aJackson Pollock.
653 _aJacques-Louis David.
653 _aJames Abbott McNeill Whistler.
653 _aJasper Johns.
653 _aJohn Ruskin.
653 _aJoshua Reynolds.
653 _aLandscape with the Fall of Icarus.
653 _aLee Krasner.
653 _aLes Demoiselles d'Avignon.
653 _aLiteracy.
653 _aLiterature.
653 _aLivy.
653 _aLorenzo Lotto.
653 _aMarcel Duchamp.
653 _aMercure de France.
653 _aMeyer Schapiro.
653 _aModern art.
653 _aMonastery.
653 _aMr.
653 _aMuseum.
653 _aNarrative.
653 _aNational Gallery of Art.
653 _aNational Gallery.
653 _aNewspaper.
653 _aOath of the Horatii.
653 _aPainting (Blue Star).
653 _aPainting.
653 _aParody.
653 _aPerspective (graphical).
653 _aPieter Bruegel the Elder.
653 _aPoetry.
653 _aPrinceton University Press.
653 _aPrintmaking.
653 _aPrivate collection.
653 _aPublication.
653 _aRembrandt Research Project.
653 _aRembrandt.
653 _aRenaissance art.
653 _aRené Magritte.
653 _aRijksmuseum.
653 _aSaskia van Uylenburgh.
653 _aSatire.
653 _aShorthand.
653 _aStefano Conti.
653 _aSterling Memorial Library.
653 _aSurrealism.
653 _aThe Painted Word.
653 _aThomas J. Watson Library.
653 _aTom Wolfe.
653 _aVisual culture.
653 _aWestern painting.
653 _aWhistler's Mother.
653 _aWilliam Powell Frith.
653 _aWork of art.
653 _aWriting.
653 _aYale Center for British Art.
850 _aIT-RoAPU
856 4 0 _uhttps://doi.org/10.1515/9781400873463?locatt=mode:legacy
856 4 0 _uhttps://www.degruyter.com/isbn/9781400873463
856 4 2 _3Cover
_uhttps://www.degruyter.com/document/cover/isbn/9781400873463/original
942 _cEB
999 _c208989
_d208989