Utvidet returrett til 31. januar 2024

Darker Shades

- The Racial Other in Early Modern Art

Om Darker Shades

Difference exists; otherness is constructed. This book asks how important Western artists, from Giotto to Titian and Caravaggio, and from Bosch to D rer and Rembrandt, shaped the imaging of non-Western individuals in early modern art. Victor I. Stoichita's nuanced and detailed study examines images of racial otherness during a time of new encounters of the West with different cultures and peoples, such as those with dark skins: Muslims and Jews. Featuring a host of informative illustrations and crossing the disciplines of art history, anthropology, and postcolonial studies, Darker Shades also reconsiders the Western canon's most essential facets: perspective, pictorial narrative, composition, bodily proportion, beauty, color, harmony, and lighting. What room was there for the "Other," Stoichita would have us ask, in such a crystalline, unchanging paradigm?

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  • Språk:
  • Engelsk
  • ISBN:
  • 9781789140569
  • Bindende:
  • Hardback
  • Sider:
  • 240
  • Utgitt:
  • 16. september 2019
  • Dimensjoner:
  • 149x224x22 mm.
  • Vekt:
  • 692 g.
  • BLACK NOVEMBER
  På lager
Leveringstid: 4-7 virkedager
Forventet levering: 12. november 2024

Beskrivelse av Darker Shades

Difference exists; otherness is constructed. This book asks how important Western artists, from Giotto to Titian and Caravaggio, and from Bosch to D rer and Rembrandt, shaped the imaging of non-Western individuals in early modern art. Victor I. Stoichita's nuanced and detailed study examines images of racial otherness during a time of new encounters of the West with different cultures and peoples, such as those with dark skins: Muslims and Jews. Featuring a host of informative illustrations and crossing the disciplines of art history, anthropology, and postcolonial studies, Darker Shades also reconsiders the Western canon's most essential facets: perspective, pictorial narrative, composition, bodily proportion, beauty, color, harmony, and lighting. What room was there for the "Other," Stoichita would have us ask, in such a crystalline, unchanging paradigm?

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