The Matter of Violence in Baroque Painting
Book Details
Format
Hardback or Cased Book
Book Series
Visual and Material Culture, 1300-1700
ISBN-10
9463727809
ISBN-13
9789463727808
Publisher
Amsterdam University Press
Imprint
Amsterdam University Press
Country of Manufacture
GB
Country of Publication
GB
Publication Date
Feb 14th, 2023
Print length
184 Pages
Weight
478 grams
Dimensions
17.70 x 24.90 x 1.80 cms
Product Classification:
History of art & design styles: c 1400 to c 1600Art & design styles: BaroqueViolence in society
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Baroque depictions of violence are often dismissed as ‘over the top’ and ‘excessive’. Their material richness and exciting visual complexity, together with the visceral engagement they demand from beholders, are usually explained in literature as reflecting the presumed violence of early modern society. This book explores the intersection between materiality, excess, and violence in seventeenth-century paintings through a close analysis of some of the most iconic works of the period. Baroque paintings expose or reference their materiality by insisting on various physical changes wrought through violence. This study approaches violence as the work of materiality, which has the potential to analogously stage pictorial surfaces as corporeal surfaces, where paint becomes flayed flesh, canvas threads ruptured skin, and red paint spilt blood.
Baroque depictions of violence are often dismissed as ‘over the top’ and ‘excessive’. Their material richness and exciting visual complexity, together with the visceral engagement they demand from beholders, are usually explained in literature as reflecting the presumed violence of early modern society. This book explores the intersection between materiality, excess, and violence in seventeenth-century paintings through a close analysis of some of the most iconic works of the period. Baroque paintings expose or reference their materiality by insisting on various physical changes wrought through violence. This study approaches violence as the work of materiality, which has the potential to analogously stage pictorial surfaces as corporeal surfaces, where paint becomes flayed flesh, canvas threads ruptured skin, and red paint spilt blood.
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