By Roy Bolton
Portray strikes out of the gentle glow of the gallery into the clean, occasionally revisionary gentle of the twenty-first century during this authoritative and fascinating heritage of paintings from historical days to trendy occasions. Insightfully, it explores the hyperlinks to culture and the breaks with creative historical past. With a latest eye it seems back on the apogees in painting’s heritage and revisits these moments on canvas, on paper, or plaster that altered endlessly the course of the art.
With a longer and full of life advent through the award-winning artwork historian and best-selling writer Matthew Collings and textual content by way of paintings historian Roy Bolton, this chronicle illuminates the place portray has been some time past 4 thousand years and the place it can be stepping into the long run. all the book’s one hundred fifty illustrations, superbly reproduced in complete colour, is followed through terse and incisive observation on either the topic of the portray and its artist. every one representation, too, marks an important element during painting’s historical past out of old Egypt, Greece, and Italy during the Renaissance and 17th century from Classicism to Romanticism, from Impressionism to Modernism. complete in scope but economically written, this handsomely designed consultant informs because it delights.
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Additional resources for A Brief History of Painting 2000 BC to AD 2000
But again as with Dalí there is still a hierarchy of good and bad. For example, Damien Hirst’s spin-paintings offer little visual pleasure. They just have arbitrary runnings-together of different colours. Their interest is really ‘performative’ – they are records of a certain kind of theatre. It’s a spectacle that involves a lot of the materials we associate with painting, but it doesn’t have the same aesthetic aims as the high tradition of painting. It’s a kind of skewed comment on Jackson Pollock.
The quote – a bit of imagery or a bit of handling that has the look of a style or mannerism from the past (but also of course that might be a direct quote from the imagery of the past) – will be deliberately enigmatic. We don’t know why it’s there, whereas we know why Picasso quotes El Greco or Manet quotes Goya. We know it is to invoke something wholeheartedly, to connect back to something, even if the new thing being made out of the old might appear initially to be a bit staggeringly different to anything the quoted artist would recognize as ‘art’.
Calligraphy was as prized as painting, even more so at times, so the painting traditions that grew up relied on well-defined ink outlines. The purpose of painting was very different too. It was less dominated by religious imagery, and was practised for a small, educated elite of nobles and bureaucrats. In landscape painting, it was tied to meditation. Religious practices were a heavy influence on what the powerful Islamic world would represent in art. Artists were not encouraged to paint figures, so the human body was rarely used in art.
A Brief History of Painting 2000 BC to AD 2000 by Roy Bolton