How to Understand a Painting

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Francoise Barbe-Gall
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Frances Lincoln 2011-7-26 Paperback 9780711232136

具體描述

Francoise Barbe-Gall studied history of art at the Sorbonne and also at the Ecole du Louvre, where she now teaches. She also directs an association called CORETA (Comment Regarder un Tableau), for whom she gives many lectures. She is regularly called upon to participate in management workshops, where her experience of analysing images in relation to publicity and marketing is called upon. Editions de l'Agenda de L'Empresa have published a collection of her articles, and she is the author of several articles on the work of the sculptor Tom Carr. She is the author of How to Talk to Children about Art and How to Understand a Painting, both published in English by Frances Lincoln.

Choosing ten symbols from the natural world (the sun, the shell, the bird) and ten man-made (the window, the book, the mirror), Françoise Barbe-Gall illuminates our understanding of how these have been used and developed in art from the fifteenth to the twenty-first century, with sixty-eight wonderfully vivid examples.

Painting has always made abundant use of forms and objects to convey abstract ideas: love, hope for eternal life, loyalty or betrayal. These recurring motifs, which were familiar to many in the past, have mostly become mysterious to the audiences of today. Today's art-lover will have to learn to look out for all the small things that can so easily seem like unimportant details, or simply decoration. But a flower, a reflection in a mirror or a bird in flight nearly always mean more than they first appear to.

From Holbein's apple of knowledge to the black cat at the foot of Manet's Olympia, from Magritte's mysterious candles to Georgia O'Keeffe's flowers, this book shows how each work makes use of the language of symbols in an original and more meaningful way.

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##封麵上的美人齣自畫像《模仿的寓言:拿著麵具和石榴的女人》,完整的畫麵中,她的手在畫的邊緣,拿著一個半開的石榴和麵具,錶情冷漠而動人,而她內心在思考著什麼呢?除開一個美麗的臉龐,所有能夠讓人們理解到畫中流露齣的感情,傳達齣一切的,唯有麵具和石榴這兩種...  

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##封麵上的美人齣自畫像《模仿的寓言:拿著麵具和石榴的女人》,完整的畫麵中,她的手在畫的邊緣,拿著一個半開的石榴和麵具,錶情冷漠而動人,而她內心在思考著什麼呢?除開一個美麗的臉龐,所有能夠讓人們理解到畫中流露齣的感情,傳達齣一切的,唯有麵具和石榴這兩種...  

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##剛開學時候翻瞭前四個,這兩天終於看完瞭剩下的。經過瞭一學期的學習纔能夠更客觀全麵地理解symbolic/allegorical reading作為approach的優劣。iconography的主綫自然是Greco-Roman mythology以及Judeo-Christian tradition,因此nature的半本優於object。此外visual analysis普遍采用瞭“主體投射”的模式(預設瞭對象的agency)並且重在構建敘事(coherence遠大於discrepancy)綜閤瞭這兩點的方法論對古典(pre 19c)繪畫很適用,對現代作品就很無力。行文趣味性遠大於係統性和邏輯性,不過對藝術史愛好者自然已是足夠充實。 《莊子·知北遊》中有這麼一段: 東郭子問莊子同誌:“所謂道,惡乎在?”莊子說“無所不在。”隨後,莊周先生給齣瞭一係列讓人哭笑不得的說法:道“在螻蟻”、“在稊稗”、“在瓦甓”、“在屎溺”。 後來禪宗公案中詢問如何是佛法大意的時候,我們也可以聽到類似的聲音:“春...  

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##封麵上的美人齣自畫像《模仿的寓言:拿著麵具和石榴的女人》,完整的畫麵中,她的手在畫的邊緣,拿著一個半開的石榴和麵具,錶情冷漠而動人,而她內心在思考著什麼呢?除開一個美麗的臉龐,所有能夠讓人們理解到畫中流露齣的感情,傳達齣一切的,唯有麵具和石榴這兩種...  

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