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Poussin's paintings : a study in art-historical methodology

Author: David Carrier; Nicolas Poussin
Publisher: University Park, Pa. : Pennsylvania State University Press, ©1993.
Edition/Format:   Print book : EnglishView all editions and formats
Database:WorldCat
Summary:
Employing the methodologies of the new art history as well as some tools provided by poststructuralism historiography, and analytic philosophy, Poussin's Paintings offers a novel approach to the art of Poussin. David Carrier begins with a comprehensive analysis of Poussin's self-portraits, which provides the starting point for a critical discussion of the traditional strategies of Poussin scholarship and for an  Read more...
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Genre/Form: Criticism, interpretation, etc
Named Person: Nicolas Poussin; Nicolas Poussin; Nicolas Poussin; Nicolas Poussin; Nicolas Poussin
Material Type: Internet resource
Document Type: Book, Internet Resource
All Authors / Contributors: David Carrier; Nicolas Poussin
ISBN: 0271008164 9780271008165
OCLC Number: 24142566
Description: xviii, 276 pages : illustrations ; 24 cm
Contents: 1. Originality and Repetition in Poussin Scholarship --
2. On the Philosophy of Connoisseurship --
3. Blindness and the Representation of Desire --
4. Poussin, Arcadia, and Landscape Painting --
5. Painting, Power, Paris: The Politics of History Painting --
6. A Classical Artist in a Society of the Spectacle --
7. From History Painting to the Prose of the World.
Responsibility: David Carrier.

Abstract:

Employing the methodologies of the new art history as well as some tools provided by poststructuralism historiography, and analytic philosophy, Poussin's Paintings offers a novel approach to the art of Poussin. David Carrier begins with a comprehensive analysis of Poussin's self-portraits, which provides the starting point for a critical discussion of the traditional strategies of Poussin scholarship and for an evaluation of the status of this artist. Carrier shows that Poussin can be properly understood only by seeing how his visual and political culture differs from others. Carrier examines the traditional approaches of Poussin scholars, noting the limitations of their views and showing how they not only shape our image of the artist but also restrict our ability to properly grasp his concerns. Carrier also considers the important conceptual claims of connoisseurs and reveals how their work invokes an implicit theory of Poussin's development. Carrier then focuses on a group of paintings concerned with erotic themes, demonstrating the inadequacy of traditional accounts of these pictures. He extends his analysis to a discussion of Poussin's landscapes, which have a different and more important place in his development than the older accounts claim. Carrier places Poussin within the artistic and political culture of seventeenth-century Rome. He asserts that artists of the time were concerned with the problem of belatedness and that Poussin attempted to return to the tradition of the High Renaissance, reworking images from that tradition in response to his own visual culture. Carrier argues that Poussin's art is thus best understood as a response to the setting for baroque art, and he relates Poussin's work to the later tradition of French history painting.

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