Bøker utgitt av Pennsylvania State University Press

Focuses on works on paper by contemporary artist Jane Hammond, who garnered a reputation in the art world as a painter in New York in the 1990s. Through the interplay of text and recycled images, Hammond has produced a series of fresh, compelling, and provocative pieces. This catalogue's sixty-four featured works show the diversity of her oeuvre.

Unites the core body of paintings and drawings, providing an account of the expedition through close visual readings that reveal Samuel Seymour's and Titian Ramsay Peale's complex responses to the contradictory goals of their assignment.

Argues that we can only learn how and why certain kinds of spatial representation prevailed over others by carefully considering how Renaissance artists and theorists interpreted perspective. This book challenges basic assumptions about the way early modern artists and theorists represented their relationship to the visible world.

Joan Miro (1893-1983) is one of the leading artists of the early twentieth century, to be ranked alongside such artists as Picasso, Matisse, Mondrian, and Pollock in his contributions to Modernist painting. This book advances an understanding of Miro's enterprise in 1920s and of the important works of his career.

Uses the writing of Freud, Lacan, the Surrealists, and Roland Barthes to elaborate a theory of art beyond the pleasure principle. Lacan was in close contact with the Surrealists and, early in his career, exchanged ideas with Dali. This book offers a reading of Dali's "paranoiac-critical" tour de force, "The Tragic Myth of Millet's Angelus".

Our view of modernism in the arts has been shaped by the prominence of painting and, in particular, by a succession of painters working in Paris - from Courbet and Manet to the Cubists. This title offers a singular critical voice challenging us to think differently about modernism.

One of Jacques-Louis David's most ambitious and darkly enigmatic paintings, "Leonidas at the Pass of Thermopylae", hangs in the Louvre, largely ignored. Focusing on this painting, this work embarks on a discourse about the perception of the body, sexuality, and subjectivity in early nineteenth-century European art.

Examines the role of monumental sculpture and architecture in the medieval cityscape, offering an interpretation of the relationships among art, architecture, and the history of urbanism. This book shifts attention away from the great Gothic cities of the later Middle Ages to focus on the urban context of art making in the earlier Romanesque era.

William Bartram's love of nature led him to explore the environs of American Southeast between 1773 and 1777. Here he collected plants and seeds, kept a journal of his observations of nature, and made drawings of the plants and animals he encountered. This work brings together, sixty-eight drawings by Bartram held at the Natural History Museum.

Features essays by Michael Cole, Larry Silver, Susan Dackerman, Graham Larkin, and exhibit co-curator Madeleine Viljoen. This book accompanies an exhibition that opened in April 2006 at the University of Pennsylvania.

Presents a comprehensive art-historical study of the personal prayerbook of King Louis IX. This book approaches the St Louis Psalter through a range of perspectives and methodologies and positions it within the contexts of its production and use.

Edvard Munch (1863-1944) has attained lasting fame for paintings and prints--above all The Scream--that express the isolation and anxieties of the modern condition, Recently, the Philadelphia Museum of Art acquired a large Munch painting, Mermaid, little known outside a small circle of experts because it had never been displayed in museums or galleries. To introduce this important work to the public, the Museum has organized an exhibition that presents Mermaid alongside related paintings, drawings, and prints. Edvard Munch's Mermaid, which accompanies the exhibition, provides the first comprehensive discussion of the painting's history and significance. The Norwegian industrialist and collector Axel Heiberg commissioned Mermaid from Munch in 1896, when the artist was living in Paris, absorbing the city's intellectual life, expanding his work as a printmaker, and extending his activities to new realms, such as designing the theater sets and program for Henrik Ibsen's play Peer Gynt. The first two essays in this book from the Philadelphia Museum of Art situate Mermaid, Munch's first decorative painting, within the rich ferment of this period in his life. The painting's Norwegian imagery, Symbolist ethos, and Art Nouveau influences are explored even as its relationship to Munch's printmaking of 1896-97 and other artistic activities is elucidated. Mermaid was removed from Heiberg's house in 1938 and was converted by a restorer from a trapezoidal format to a standard rectangle. The final essays discusses the changes to the painting in light of Munch's highly personal and complex views on the alteration of his works. Edvard Munch's Mermaid reproduces all the prints, drawings, and paintings inthe exhibition at the Philadelphia Museum of Art, September 24-December 31, 2005.

I remain fascinated by the tricky nature of Duchamp's readymades--objects transformed into art, but not quite. They always retain their original identity of function. This is why many people refer to Fountain in a casual way as "the urinal." For me this is an acknowledgement that the work is part art, part not-part object, part sculpture. In insist that we see the readymades produced in the 1960s as quite different from the readymades that were purchased by Duchamp in the teens. They are different objects, with different sets of rules. Hence they behave differently in the gallery and ultimately mean different things. I have also tried to keep Duchamp's readymades in dialogue with his lifelong interest in eros. These two strains of his thought have been kept separate--wrongly, I think--in the American reception of Duchamp. I am trying to map a genealogy of postwar sculpture that challenges the Minimalist/Post-Minimalist sequence maintained in most accounts of the period. The exhibition begins in the 1950s and comes up to the present. Also, it has become increasingly difficult to narrate postwar art as predominantly or exclusively American. Artists have been engaging in an enormous transatlantic dialogue. No, not at all. It is precisely the constellation of figures like Burri, Duchamp, and Bourgeois, and then Duchamp and Hesse and Johns, and then Duchamp and Kusama and Gober, and then Duchamp and McElheney and Orozco, that makes the exhibition so potentially interesting. I asked writers who were working on the artists in the show and have won my admiration for the sensitivity of their writing and the unconventional nature of their thought. I then allowed them to write what they pleased.The outcome is a book to be considered as another site where the counter-genealogy is being built and argued for.

Emerging in Spain after 1250, Jewish narrative figurative painting became a central feature in a group of illuminated Passover Haggadot in the early decades of the fourteenth century. This book describes how the Sephardic Haggadot reflect different visualizations of scripture under various conditions and aimed at a variety of audiences.

Since the production of the first negative by William Henry Fox Talbot 1835, English photography has played a central role in revolutionizing the production of images, yet has largely evaded critical attention. Edwards investigates this new enterprise, and specifically how professional photographers shaped a strange aesthetic for their practice.

From minstrelsy to the folk music revival of the twentieth century, the banjo has continued to attract audiences and acquire meaning. This book offers an examination of the instrument's portrayal in images that range from anonymous photographs of performers to paintings by Thomas Eakins and prints by Dox Thrash.

Many patrons of the arts in 19th-century America collected paintings and sculpture from England or Italy. Collectors in Baltimore looked to France for models of culture and assembled extensive collections of drawings by French masters. This is a discussion of the formation of these collections and their significance for the history of French art.

During the 1930s, American artists, such as Ben Shahn, developed a mode of representation generally known as Social Realism. Presenting an assessment of Social Realism, this book contends that the radical, "realistic" art of the Americas during the 1930s was shaped as much by hemispheric exchange as by emulation of the European avant-garde.

Despite their anonymity, the images are, as a group, readily distinguished from local products anywhere else in the Spanish colonial world. This work contains essays that explore the Catholic instruments of religious devotion produced in New Mexico from around 1760 until the radical transformation of the tradition in the twentieth century.

Since the Renaissance, most art has been prized because of the prodigious skills that went into its making. Why would any artist choose to work with slides? Is the development of slide art connected to the ferment of the 60s? This book examines Slide Art.

The Philadelphia Museum of Art is fortunate to have a collection of Italian drawings that encompasses a broad sweep of Italy's art history, from the Renaissance to Futurism to the contemporary. With this publication, 80 of these drawings are provided with insightful commentary, scholarly analysis, and biographies of the artists.

Carl Brandon Strehlke, Adjunct Curator has prepared a scholarly examination of the Johnson Collection. His discussion of such art historical questions as dating and attribution combines extensive archival research with technical study of the paintings.

The stereotype of the Spanish Gypsy has been all but synonymous with Spain since the 19th century, and there are no signs that her power as a national icon is on the wane, surprising as it may seem. This is the history of this icon and her people, who have long been shrouded in mystery and all too often subjected to discrimination and persecution.

In this interdisciplinary book, Keala Jewell reunites Giorgio de Chirico (1888-1978) with his brother, Alberto Savinio (1891-1952), a prolific writer and painter who has been kept at the margins of the discussion of surrealism and, more generally, the culture politics of 20th-century Italy.

In this work, Jody Blake traces the profound impact African sculpture and African American music and dance had upon Parisian popular entertainment as well as upon avant-garde, modernist art, literature, and theatre.

Looking closely at paintings from ca 1200 in the church of Saint Aignan-sur-Cher, Kupfer traces their links to burial practices, the veneration of saints and the care of the sick in nearby hospitals, in an exploration of the significance of architecture and image-making in medieval society.

"Cities and Saints" contends that Sufis in medieval Anatolia made alliances that gave dervish lodges powers so vast that they were able to alter the layout of cities and serve as the means of forging new social bonds.