New Image Painting Quick reference
A Dictionary of Modern and Contemporary Art (3 ed.)
... Image Painting ( New Image Art ) A term applied since the late 1970s to the work of certain artists who work in a strident figurative style, often with cartoon-like imagery and abrasive handling, with some affinity to Neo-Expressionism , although the most significant influence was probably Philip Guston 's late figurative painting. The term was given currency by an exhibition entitled ‘New Image Painting’ at the Whitney Museum, New York, in 1978 . Its curator, Richard Marshall , noted that the paintings were marked by ‘the use of recognizable images’....
New Image Painting Reference library
The Oxford Dictionary of Art (3 ed.)
... Image Painting (or New Image art ) . A vague term applied since the late 1970s to the work of certain painters who work in a strident figurative style, often with cartoon-like imagery and abrasive handling owing something to Neo-Expressionism . The term was given currency by an exhibition entitled ‘New Image Painting’ at the Whitney Museum, New York, in 1978 . The accompanying catalogue unhelpfully informs us that the New Image painters ‘felt free to manipulate the image on canvas so that it can be experienced as a physical object, an abstract...
New Image Painting Quick reference
The Oxford Dictionary of Art and Artists (5 ed.)
... Image Painting A vague term applied since the late 1970s to the work of certain painters who employ a strident figurative style, often with cartoon-like imagery and abrasive handling owing something to Neo-Expressionism . The term was given currency by an exhibition entitled ‘New Image Painting’ at the Whitney Museum, New York, in 1978 . The accompanying catalogue unhelpfully informs us that the New Image painters ‘felt free to manipulate the image on canvas so that it can be experienced as a physical object, an abstract configuration, a psychological...
New Image Painting
Painting Reference library
An Oxford Companion to the Romantic Age
...in a strikingly homogeneous, undifferentiated, and repetitive mass of paintings and people, offering a sardonic confirmation that painting, even as it dramatized a modern notion of individuality, simultaneously served as a crucial means of confirming a bourgeois community's cultural uniformity, both within and without the Academy's walls. Barrell, J. , ‘The Body of the Public’ in his The Political Theory of Painting , New Haven, Conn., 1986; ed., Painting and the Politics of Culture: New Essays on British Art 1700–1850 , Oxford, 1992; Bermingham, A. , ...
Viewing Reference library
An Oxford Companion to the Romantic Age
...within this construct. Barrell, J. , The Political Theory of Painting from Reynolds to Hazlitt , New Haven, Conn., 1986; Friedman, W. , Boydell's Shakespeare Gallery , New York, 1976; Hazlitt, W. , Sketches of the Principal Picture Galleries in England , London, 1824; Pye, J. , Patronage of British Art: An Historical Sketch , London, 1845; Solkin, D. , Painting for Money: The Visual Arts and the Public Sphere in Eighteenth-Century England , New Haven, Conn., 1993; Vergo, P. , ed., The New Museology , London, 1991; Waterford, G. , Palaces of Art: Art...
Prints Reference library
An Oxford Companion to the Romantic Age
...compensated for the neglect they suffered from the wealthy. If import replacement was a sign of printmaking's success, technological innovation and division of labour were signs of its modernity. A plethora of new or adapted techniques enabled paintings and drawings to be imitated as never before, making something of the experience of owning paintings or drawings available beyond the small circles of connoisseurs. Though some printmakers capitalized specifically on the rarity value of their products by limiting editions and offering carefully contrived...
11 The Technologies of Print Reference library
James Mosley
The Oxford Companion to the Book
...press applied much greater pressure than the press used for type, its operation was correspondingly slow. The pressure also caused wear to the plate, limiting the number of images that could be made before it needed to be re-engraved. The early market for copperplate engravings was generally for independently published images sold singly, such as *maps , reproductions of paintings, and satirical *prints . During the 17 th and 18 th centuries, however, intaglio prints became widely used for illustrations in books, as well as for adding ornaments and...
16 The History of Illustration and its Technologies Reference library
Paul Goldman
The Oxford Companion to the Book
...new illustrations for their high-quality reprints. Such books are printed in commercial numbers, though theoretically limited, and hence are available relatively inexpensively. With digital technology, the appetite for illustrated books seems inexhaustible, as the means of meeting it becomes simpler both for the self-publisher and for the professional. In the world of the adult trade novel, an interesting development has been the recent use of digital images by writers such as W. G. Sebald and Michel Houellebecq . Their skilful combining of word and image...
Architecture Reference library
An Oxford Companion to the Romantic Age
...back control of public presentation of his work from the critics of the new commercial discourse. Adams, B. , London Illustrated, 1604–1851: A Survey and Index of Topographical Books and Their Plates , Phoenix, Ariz., 1983; Archer, J. , The Literature of British Domestic Architecture, 1715–1842 , Cambridge, Mass., 1985; Britton, J. , The Union of Architecture, Sculpture, and Painting , London, 1827; Colvin, H. , A Biographical Dictionary of British Architects, 1600–1840 , New Haven, Conn., 1995; Crook, J. M. , & Port, M. H. , eds., The History...
Historic Churches Quick reference
David Hey
The Oxford Companion to Local and Family History (2 ed.)
...remain as in time past, saving that all images, shrines, tabernacles, rood loftes and monuments of idolatrie are removed, taken down and defaced: Onlie the stories in glasse windowes excepted, which, for want of sufficient store of new stuffe, and by reason of extreme charge that should grow by the alteration of the same into white panes throughout the realme, are not altogether abolished in most places at once, but by little and little suffered to decaie that white glass may be set up in their roomes.’ The paintings which have been rediscovered under layers...
The Bible in the Eastern Churches Reference library
George Bebawi
The Oxford Illustrated History of the Bible
...like other Orthodox theologians, sees in the Bible multiple images, which form the icon of salvation. These images can change according to the needs of our time and according to the kind of preaching but the icon must remain as an icon of salvation. The best illustration of this is in the famous icon of Christ the Pantokrator. He is painted carrying the New Testament gospels. The message is that no one can understand one without the other. Abbot Mena with Christ. Coptic painting on wood, 6 th –7 th century. Louvre, Paris/Bridgeman Art Library...
7 The Book as Symbol Reference library
Brian Cummings
The Oxford Companion to the Book
...was burned at Geneva in 1553 with several portions of manuscript and one of his printed works bound around his waist. In the new confessional divisions, the Bible itself came under threat: Tyndale’s New Testament was burned in England in the 1520s by official order. In such turmoil, a book could be found miraculously to survive even as the authorities strove to extinguish it. Just as Pedro Berruguete’s 1480 painting (now in the Prado) of such proceedings against the Cathars showed St Dominic’s works preserved intact alongside the charred detritus...
Poverty Reference library
An Oxford Companion to the Romantic Age
...but frugal plenty’. Such apparently simple accounts had complex messages to convey. Radicals, populists, and conservatives also marshalled these images, for different ends, in literature addressed to the lower classes. Cottages and hovels conveyed political and aesthetic values which framed the concept of pauperism and gave new emphasis to the male poor. Reference to a generic ‘poor man’ was not new. What, however, became distinctive in the late eighteenth and early nineteenth centuries was a clearer focus on the poor as men, and in particular on the...
46 The History of the Book in Latin America (including Incas, Aztecs, and the Caribbean) Reference library
Eugenia Roldán Vera
The Oxford Companion to the Book
...written MSS—with the main body of the text in Mayan language, often accompanied by drawings—copied and enlarged during the 16 th –18 th centuries, and passed down through the generations. This new arrangement epitomized the semantic transformation that took place with the introduction of new writing and reading practices in the colonial period: images, which in pre-Columbian codices were the powerful support for a predominantly oral culture, became a device meant to assist the understanding of written texts. The persistence of the codex as a form for...
40 The History of the Book in China Reference library
J. S. Edgren
The Oxford Companion to the Book
...the strips in the correct order. This is a task more often assigned to a scroll-mounter than to a bookbinder. The album binding, which superficially can be mistaken for the *pleated binding , is usually regarded as belonging to the realm of painting and *calligraphy rather than of books. Folding albums of painting or calligraphy are called ceye (Japanese gajō ), and are made from single sheets of stiff paper folded vertically in the centre. The sheets are then bound by consecutively pasting the edges parallel to the centrefold until the *volume is...
Design Reference library
An Oxford Companion to the Romantic Age
...named his new factory ‘Etruria’, on the generally but mistakenly held belief that the Etruscans made the finest antique vases. By selling ‘Vases, Urns and other ornaments after the Etruscan, Greek and Roman modells’, he aimed to become ‘Vase Maker General to the Universe’. He produced glazes which imitated Roman stones—marble, granite, agate, lapis lazuli, porphyry—and transformed a traditional Staffordshire body known as ‘Egyptian black’ into the hard ‘Black Basalt’. In 1769 he took out a patent for ‘encaustic’ or matt enamel painting to emulate...
Mythology Reference library
An Oxford Companion to the Romantic Age
...taxonomic agenda of reducing the heterogeneity of cultures to a common standard, whether based upon revelation or reason. New knowledge of non-Christian religious traditions served to deepen the sceptical currents established by Renaissance scholars, revitalizing the Greek and Roman pantheons and introducing a plethora of new, now mainly oriental deities into the European image-repertoire. The pagan myths of European antiquity assumed a new immediacy and universality as they were identified with the cults of the contemporary ‘primitive’ or oriental world, a...
Domestic Buildings Quick reference
Malcolm Airs
The Oxford Companion to Local and Family History (2 ed.)
...of the list descriptions, together with a defining image, can be searched on the Images of England web site. Housing of any status was often designed by professional architects, and biographical dictionaries provide the basic information on their lives and works. John Harvey , English Mediaeval Architects (rev. edn, 1984 ; suppl., 1987 ), covers the period to 1550 , and Sir Howard Colvin deals with the period from 1600 to 1840 in his Biographical Dictionary of British Architects (new edn, 2008 ). For Ireland there is Rolf Loeber, A...
Theatre Reference library
An Oxford Companion to the Romantic Age
...word, in this case the biblical logos, was threatened by the many voices, bodies, and images of the theatre, what she described as ‘a complicated temptation’ to which ‘frail and erring creatures’ should not be exposed. Romantic writers were both attracted and repelled by this power. The theatre was for them a site of adulteration in which the changes taking place in late Georgian culture—the impact of commercialization, competing definitions of the public, the emergence of new cultural forms such as melodrama to challenge established genres and hierarchies, the...
