Too Beautiful to Picture: Zeuxis, Myth, And MimesisU of Minnesota Press - 232 páginas Few tales of artistic triumph can rival the story of Zeuxis. As first reported by Cicero and Pliny, the painter Zeuxis set out to portray Helen of Troy, but when he realized that a single model could not match Helen’s beauty, he combined the best features of five different models. A primer on mimesis in art making, the Zeuxis myth also illustrates ambivalence about the ability to rely on nature as a model for ideal form. In Too Beautiful to Picture, Elizabeth C. Mansfield engages the visual arts, literature, and performance to examine the desire to make the ideal visible. She finds in the Zeuxis myth evidence of a cultural primal scene that manifests itself in gendered terms. Mansfield considers the many depictions of the legend during the Renaissance and questions its absence during the eighteenth century. Offering interpretations of Angelica Kauffman’s paintings, Mary Shelley’s Frankenstein, and Picasso’s Les Demoiselles d’Avignon, Mansfield also considers Orlan’s carnal art as a profound retelling of the myth. Throughout, Mansfield asserts that the Zeuxis legend encodes an unconscious record of the West’s reliance on mimetic representation as a vehicle for metaphysical solace. Elizabeth C. Mansfield is associate professor of art history at the University of the South. |
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Página xix
... century discourse. This, perhaps, is not remarkable given the popular assumptions of the time regarding women's creative and intellectual capacities. But I believe that there is more to this rhetoric than simply an expression of social ...
... century discourse. This, perhaps, is not remarkable given the popular assumptions of the time regarding women's creative and intellectual capacities. But I believe that there is more to this rhetoric than simply an expression of social ...
Página xx
... century, a period distinguished by a vogue for visual interpretations of themes taken from Roman sources such as Cicero and Pliny. I have found only four paintings of the subject by male artists working in the mid-eighteenth to mid ...
... century, a period distinguished by a vogue for visual interpretations of themes taken from Roman sources such as Cicero and Pliny. I have found only four paintings of the subject by male artists working in the mid-eighteenth to mid ...
Página 3
... centuries to render aesthetic and historic significance. But another, even more enduring, genre exists. Myths and legends about artists and their accomplishments have constituted a form of art history since antiquity. These narratives ...
... centuries to render aesthetic and historic significance. But another, even more enduring, genre exists. Myths and legends about artists and their accomplishments have constituted a form of art history since antiquity. These narratives ...
Página 5
... centuries.10 The theme's alternate title, the Invention of Painting, denotes its role as an etiological myth of Western art. But the story did not always account for the origins of painting. The earliest extant reference to the story ...
... centuries.10 The theme's alternate title, the Invention of Painting, denotes its role as an etiological myth of Western art. But the story did not always account for the origins of painting. The earliest extant reference to the story ...
Página 6
... century, re- fers to the legend in book 10 of his Institutio oratoria, albeit obliquely as well as pejoratively. He wonders, Shall we follow the example of those painters whose sole aim is to be able to copy pictures by using the ruler ...
... century, re- fers to the legend in book 10 of his Institutio oratoria, albeit obliquely as well as pejoratively. He wonders, Shall we follow the example of those painters whose sole aim is to be able to copy pictures by using the ruler ...
Índice
PART II PAINTING LIKE ZEUXIS | 55 |
Zeuxis Selecting Models and the Cultural Unconscious | 153 |
Notes | 169 |
Index | 213 |
Outras edições - Ver tudo
Too Beautiful to Picture: Zeuxis, Myth, and Mimesis Elizabeth Mansfield Pré-visualização indisponível - 2007 |
Too Beautiful to Picture: Zeuxis, Myth, and Mimesis Elizabeth Mansfield Pré-visualização indisponível - 2007 |
Palavras e frases frequentes
aesthetic Agrigentum ancient Angelica Kauffman antique anxiety Apelles Apelles Painting appears art history Art Resource beauty body Cambridge Campaspe Carnal Art castration castration anxiety century chapter Cicero classical mimesis creative critique Croton cultural Demoiselles d'Avignon depiction discourse doppelgänger eighteenth eighteenth-century engraving erotic explains Faust female feminine fetish Figure François-André Vincent Frankenstein fresco Freud Giorgio Vasari Greek Helen of Troy Hera Ibid ideal imitation invention Joseph-Marie Vien Juno legend of Zeuxis Les Demoiselles d'Avignon London male Mary Shelley masculine metaphor mimetic modern Musée Museum Net Magazine nude oil on canvas Orlan painter painting's Paris Parrhasius Photograph courtesy Picasso's Plato Pliny Pliny's pose primal scene Pygmalion Renaissance Reynolds role Roman Rosenthal Sandrart sculpture self-portrait sexual Shelley's story of Zeuxis temple theme theory tion trans University Press Vasari Venus Vien's viewer Vincent visual Western art Winckelmann woman women York Zeuxian mimesis Zeuxis myth Zeuxis Selecting Models
Passagens conhecidas
Página 50 - Yet nature is made better by no mean, But nature makes that mean : so, o'er that art Which, you say, adds to nature, is an art That nature makes. You see, sweet maid, we marry A gentler scion to the wildest stock ; And make conceive a bark of baser kind By bud of nobler race. This is an art Which does mend nature, change it rather : but The art itself is nature.
Página 38 - See, what a grace was seated on this brow; Hyperion's curls; the front of Jove himself; An eye like Mars, to threaten and command; A station like the herald Mercury, New-lighted on a heaven-kissing hill; A combination, and a form, indeed, Where every god did seem to set his seal, To give the world assurance of a man : This was your husband.
Página 177 - Her lips suck forth my soul : see, where it flies! Come, Helen, come, give me my soul again. Here will I dwell, for heaven is in these lips, And all is dross that is not Helena.
Página 179 - Doch im Erstarren such' ich nicht mein Heil, Das Schaudern ist der Menschheit bestes Teil; Wie auch die Welt ihm das Gefühl verteure, Ergriffen, fühlt er tief das Ungeheure.
Página 95 - His limbs were in proportion and I had selected his features as beautiful. Beautiful!— Great God! His yellow skin scarcely covered the work of muscles and arteries beneath; his hair was of a lustrous black, and flowing; his teeth of a pearly whiteness; but these luxuriances only formed a more horrid contrast with his watery eyes, that seemed almost of the same colour as the dun white sockets in which they were set, his shrivelled complexion and straight black lips.
Página 92 - I busied myself to think of a story — a story to rival those which had excited us to this task. One which would speak to the mysterious fears of our nature and awaken thrilling horror...
Página 25 - This is that an uncanny effect is often and easily produced when the distinction between imagination and reality is effaced, as when something that we have hitherto regarded as imaginary appears before us in reality...
Página 31 - double' was originally an insurance against destruction to the ego, an 'energetic denial of the power of death', as Rank says; and probably the 'immortal' soul was the first 'double' of the body. This invention of doubling as a preservation against extinction has its counterpart in the language of dreams, which is fond of representing castration by a doubling or multiplication of...
Página 50 - You see, sweet maid, we marry A gentler scion to the wildest stock, And make conceive a bark of baser kind By bud of nobler race : this is an art ~\\ hich does mend nature, — change it rather ; but The art itself is nature.
Página 22 - I could not long remain in doubt. Nothing but painted women were to be seen at the windows of the small houses, and I hastened to leave the narrow street at the next turning.