Picture titles : how and why Western paintings acquired their names
著者
書誌事項
Picture titles : how and why Western paintings acquired their names
Princeton University Press, c2015
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注記
Includes bibliographical references and index
内容説明・目次
内容説明
A 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.
目次
List of Illustrations ix Prologue (This is not a title) 1 I Naming and Circulating: Middlemen 1 Before Titles 19 2 Dealers and Notaries 25 3 Early Cataloguers 31 4 Academies 39 5 Printmakers 52 6 Curators, Critics, Friends-and More Dealers 66 II Reading and Interpreting: Viewers 7 Reading by the Title 81 8 The Power of a Name 97 9 Many Can Read Print 110 10 Reading against the Title 124 III Authoring as well as Painting: Artists 11 The Force of David's Oath 143 12 Turner's Poetic Fallacies 166 13 Courbet's Studio as Manifesto 183 14 Whistler's Symphonies and Other Instructive Arrangements 204 15 Magritte and The Use of Words 225 16 Johns's No and the Painted Word 243 Acknowledgments 265 Notes 267 Index 315
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