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This is a book on 17th century Dutch painting that promotes
a newer idea about the intentions of these paintings. Alpers
believes that the paintings were not "emblematic representations",
or in other words, strictly iconographic. She thinks they were
more about the skill of the artist and the specific objects in
the painting. Barter, Judith A. Mary Cassatt: Modern Woman. New York:
Harry N. Abrams, Inc., Publishers, 1998. I also saw the Mary Cassatt show in D.C. at the National Gallery
during the summer of 1999, but I don't have the info to cite
it. Both the show and the book give autobiographical history
of the artist and display her work. What I like most about her
and her work is that she only painted about her life, about what
she knew and what she saw and that is what gives her work it's
meaning and social relevance. Canaday, John. Metropolitan Seminars in Art: Portfolio
1 - What is a Painting? New York: The Metropolitan Museum
of Art, 1958. This is a very helpful book that explores the basics of painting.
It explores questions like: What is a painting? How do different
styles of painting communicate? How can a viewer interpret a
painting? and so forth. Duras, Marguerite. Hiroshima Mon Amour. (city?): Éditions
Gallimard, 1960. I have also seen the film "Hiroshima mon amour",
which is perhaps the more important source here since it is visual
and the novel was written with the intention of making it into
a film. In fact the book is more accurately called a screenplay.
I have also read and seen the book/movie L'amant also by Marguerite
Duras, but I don't have the info to cite either. Duras writes
and makes films in an abstract sometimes non-linear style. Her
works are about war, love, lust, tragedy, need and humanity above
all. Flack, Audrey and Lawrence Alloway. Audrey Flack on Painting.
New York: Harry N. Abrams, Inc., Publishers, 1981. Photo-realist, Audrey Flack talks about her methods and intentions
in painting. The book displays most of her more significant work,
including the gray border series and some of her early paintings. Franits, Wayne. Looking at Seventeenth-Century Dutch Art,
Realism Reconsidered. New York: Cambridge UP, 1997. Franits shares Alpers point of view that Dutch paintings do
not have an iconographic code, however he does allow that there
maybe more within the paintings that just what is depicted. Hawthorne, Charles. Hawthorne on Painting. City?: Dover
Publishing, 1938. This is a book of notes collected by Hawthorne's wife from
students' notebooks who have taken classes with Charles Hawthorne
who taught painting for 30 years. His comments range from advice
to criticism and encouragement for his students about perceptual
painting. Lucie-Smith, Edward. Henri Fantin-Latour. New York:
Rizzoli Int. Publications, Inc., It's a book on the life and work of 19th century French painter
Henri Fantin-Latour. The book describes him as a half-ignored
painter who wasn't the best painter of his time, but who still
deserves recognition. McEvilley, Thomas. Art and Discontent. New York: McPherson
& Company, 1991. This book contains many essays on modern and post-modern art
theory. The most helpful of these for me is titled "On the
Manner of Addressing Clouds" which is about thirteen ways
that content can be present in a work of art. It points out some
basic issues that contribute to content that are often overlooked. Rose has the more traditional point of view on the subject
of Dutch painting. She believes that the paintings are definitely
symbolic, and she even seems to think that the main interest
of the Dutch artists was their subject matter and its symbolism
and not their technical skill. I personally believe both were
very important to the Dutch artists and the collectors of the
time. Stiles, Kristine and Peter Selz, ed. Theories and Documents
of Contemporary Art. Los Angeles: U of California P, 1996. This is a book of interviews, essays and artist statements
from various contemporary artists explaining their work and theories
behind it. Thomson, Belinda. Vuillard. New York: Abbeville P,
1988. This is a book about the artist, his work and his life. I
love his creation of space and use of pattern. His portraits
have a way of revealing a bit of the sitter's personality and
I'd love to be able to do the same. Un air de famille. Dir. Cédric Klapisch. (studio?),
1998. I'd probably consider this to be one of my all time favorite
films. It is a French film that won several Caesars, which is
the French equivalent of an Oscar. The film tells the story of
a family and what happens when they meet up to celebrate someone's
birthday at a bar (which is owned by the oldest son) after it
has closed. (The children of this family are all adults and two
of the three are married.) This is a very real, human film that
expresses a wide spectrum of emotions within relationships and
family. The problems of this family are everyone's which is what
makes this such a fabulous film. Vine, Richard and John Bullard. Odd Nerdrum: The Drawings.
New Orleans: New Orleans Museum of Art, 1994. This is a book of images for the most part. There is a short blurb at the beginning of the book about the artist's life and work. |
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