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Mysteries of the rectangle : essays on painting

Author: Siri Hustvedt
Publisher: New York : Princeton Architectural Press, ©2005.
Edition/Format:   Book : English : A Winterhouse edView all editions and formats
Database:WorldCat
Summary:
In this book, Hustvedt gives us nine essays on the significance of particular works of art, replete with original insights and a few startling discoveries. In her essay on Giorgione's The Tempest, a painting that has mystified art critics for hundreds of years, the author reinterprets the canvas as a work about art and voyeurism. While looking at The Third of May, she was astonished to discover that Goya had hidden  Read more...
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Material Type: Internet resource
Document Type: Book, Internet Resource
All Authors / Contributors: Siri Hustvedt
ISBN: 1568985185 9781568985183 1568986181 9781568986180
OCLC Number: 57285923
Description: xxi, 179 p. : ill. (some col.) ; 24 cm.
Contents: The pleasures of bewilderment --
Vermeer's annunciation --
The man with the red crayon --
Ghosts at the table --
Narratives in the body : Goya's Los Caprichos --
More Goya : "There are no rules in painting" --
Giorgio Morandi : Not just bottles --
Joan Mitchell : Remembering in color --
Gerhard Richter : Why paint? --
Notes.
Responsibility: Siri Hustvedt.
More information:

Abstract:

In this book, Hustvedt gives us nine essays on the significance of particular works of art, replete with original insights and a few startling discoveries. In her essay on Giorgione's The Tempest, a painting that has mystified art critics for hundreds of years, the author reinterprets the canvas as a work about art and voyeurism. While looking at The Third of May, she was astonished to discover that Goya had hidden his own self-portrait in a shadowy corner of his iconic masterwork. More than anything, the essays in this book display a true passion for art, from the still lifes of Jean-Baptiste Chardin and Giorgio Morandi to the contemporary works of Joan Mitchell and Gerhard Richter. Hustvedt captures perfectly the pleasure found in giving oneself up to the complexities and ambiguities of painting, discovering new subtleties and surprises the longer one takes the time to look.--Back cover.

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