264 pp., 6.125 x 9.25, 8 color and 115 b&w illus., notes, bibl., index
Bettie Allison Rand Lectures in Art History
Between the time of Dürer and that of Delacroix, the place where the artist worked transformed into what nineteenth-century writers would call the "studio." The transformation implied a new kind of exchange between the workplaces of the artisan and the intellectual: the crafting of images provided a model for new kinds of reflection, and the imagined site of artisanship a new setting for meditation. Eventually the studio, as a subject of painting, would be one through which artists would make their most ambitious statements about the nature of their vocations.
In Inventions of the Studio, six noted art historians follow this process over five centuries. The book looks at the Renaissance origins of the idea of the studio, at the possibilities that emerged for visualizing it in the late sixteenth and seventeenth centuries, and at its restaging among the Romantics, treating these not as isolated projects, but as part of a coherent tradition. Looking at the studio both as a concept and as an actual space, the book suggests that the studio, in its emergent form, is in many ways what defines the early modern artist.
H. Perry Chapman, University of Delaware
Michael Cole, University of Pennsylvania
Marc Gotlieb, University of Toronto
Walter S. Melion, The Johns Hopkins University
Mary Pardo, University of North Carolina at Chapel Hill
Christopher S. Wood, Yale University
"Thought-provoking. . . . Engaging. . . . The artist's 'studio' that emerges from this book is a site of contestation and exchange between public and private, theory and practice, art and nature, real and virtual, self and ego."
--University of Toronto Quarterly
"Inventions of the Studio opens entirely new prospects on a traditional theme in Western art. In these innovative studies the artist's studio emerges as a significantly more complex phenomenon, a site not only of artistic production and training but of creative introspection and anxiety as well."--David Rosand, Columbia University
"This is a smart book that rethinks the studio both as a site of production and a conceptual nexus of ideas about the interrelation of making and knowing in early modern Europe. A welcome supplement to familiar narratives of the changing status of art and artist, these thoughtful essays reveal in distinctive ways how pictorial practices and imagery can testify to discursive formations not yet or not fully articulated textually."
--Celeste Brusati, University of Michigan
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