Pindar Press - publishers of art history and archaeology

European Art since the Renaissance

Art and Imago

by Seymour Howard

24 x 17 cm 486 pp. 239 illus.
£150.00
Publication: 1997
ISBN 1 899828 02 8
Buckram Bound

Professor Seymour Howard's publications over the last forty years have introduced many innovative approaches to research in the history of art and archaeology.

The arrangement of these two dozen essays in seven topical groups suggests their growth, origins, and relationships. Most of the studies deal with well-known canons of art from uncanonical points of view, which reflect the author's work as a practicing artist as well as his interdisciplinary training as a humanistic scholar. These rigorous and wide-ranging studies explore historic makings and meanings of graphic imagery, whose fundamental importance for understanding and communication has lost nothing of its power during the ascendance of literacy.

The title essay and preface are new, as are the additional annotation and commentary; the author's bibliography and an index have been supplied.

Contents:

Preface
I. Introduction: Art and Imago. II. Classical Patterns: A Cultural Parallel in Baroque and Hellenistic Portraiture
The Hero as Norm in Fourth Century Sculpture
A Veristic Portrait of Late Hellenism: Notes on a Culminating Transformation in Hellenistic Sculpture. III. Psychological Analogues: The Dresden Venus and Its Kin: Mutation and Retrieval of Types
Autocathexis and Old Master Patronage
Identity Formation and Image Reference in the Narrative Sculpture of Bernini's Early Maturity: Hercules and Hydra and Eros Triumphant
William Blake, the Antique, Nudity, and Nakedness: A Study in Idealism and Regression
Duchamp, Dali, Tzara, and Dadaist Coprophilia. IV. Archaisms: The Revival of Ancient Archaic Art in the Late Eighteenth Century and the Use of Archaizing Postures and Modes in Drama and Living Sculpture
Archaism and Attitudes in Italianate Neo-Classic Sculpture
Definitions and Values of Archaism and the Archaic Style. V. Manet: Form, Subject, and Self-Imagery: Early Manet and Artful Error: Foundations of Anti-Illusion in Modern Painting
Manet's Men's Women
'Olympia' Says 'No'? VI. Covert Imagery: Fig Leaf, Pudica, Nudity, and Other Revealing Concealments
Hidden Images: Antipasti
Watteau's Capriccio with Harlequin and Columbine: A Rude and Subtle Awakening. VII. Socio-Political Identifications: Boxing Broadsides: Blendings of Fine and Popular Art
A Model of Early Romantic Necrophilia
Freedom, Neoclassicism, and Republican Nationalism. VIII. Iconology and Intention: Iconology, Intention, Imagos, and Myths of Meaning
I.R.I.S.: The Artist's Intent and Proliferation of Meanings. Added Annotations
Index