This study combines art history and literary criticism in a joint study of the canonical "fathers" of modernism. Arden Reed argues that modernism is a matter of genre blending, hybridization and movements between text and image.
A final section of this book is devoted to the life and collected critical writings of Cheryl Bernstein, a fictitious critic created by Duncan as parody, but who was taken as a real and eventually influential, critic.
These essays also address the interplay between text and linguistic structure, style as a narrative force, time as a narrative clue, narrative through emblematic versus sequential images, and the observer as a necessary activator of the ...
Arguing that panel painting, from its origins in the Early Renaissance, was a 'self-aware image', Stoichita demonstrates that the artist and his art was often the theme of the painting.
Art and the Roman Viewer presents a fresh analysis of a major intellectual problem in the history of art: why did the arts of Late Antiquity move away from classical naturalism towards spiritual abstraction?
These specially commissioned essays offer a radical and fresh appraisal of how ancient Greek art was looked at, written about and discussed in antiquity.