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Picture titles = how and why western...

Yeazell, Ruth Bernard.

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Picture titles = how and why western paintings acquired their names /

Record Type:	Electronic resources : Monograph/item
Title/Author:	Picture titles/ Ruth Bernard Yeazell.
Reminder of title:	how and why western paintings acquired their names /
Author:	Yeazell, Ruth Bernard.
Published:	Princeton, New Jersey :Princeton University Press, : 2015.,
Description:	1 online resource (365 p.)
[NT 15003449]:	Picture titles: how and why western paintings acquired their names -- Contents -- Illustrations -- Prologue (This is not a title) -- I: Naming and Circulating: Middlemen -- 1. Before Titles -- 2. Dealers and Notaries -- 3. Early Cataloguers -- 4. Academies -- 5. Printmakers -- 6. Curators, Critics, Friends-and More Dealers -- II: Reading and Interpreting: Viewers -- 7. Reading by the Title -- 8. The Power of a Name -- 9. Many Can Read Print -- 10. Reading against the Title -- III: Authoring as Well as Painting: Artists -- 11. The Force of David's Oath -- 12. Turner's Poetic Fallacies -- 13. Courbet's Studio as Manifesto -- 14. Whistler's Symphonies and Other Instructive Arrangements -- 15. Magritte and the Use of Words -- 16. Johns's No and the Painted Word -- Acknowledgments -- Notes -- Index.
Subject:	Titles of works of art. -
Online resource:	http://portal.igpublish.com/iglibrary/search/PUPB0003695.htmlclick for full text
ISBN:	1400873460

Picture titles = how and why western paintings acquired their names /
Yeazell, Ruth Bernard.

Picture titleshow and why western paintings acquired their names /[electronic resource] :Ruth Bernard Yeazell. - Princeton, New Jersey :Princeton University Press,2015. - 1 online resource (365 p.)

Includes bibliographical references and index.

Picture titles: how and why western paintings acquired their names -- Contents -- Illustrations -- Prologue (This is not a title) -- I: Naming and Circulating: Middlemen -- 1. Before Titles -- 2. Dealers and Notaries -- 3. Early Cataloguers -- 4. Academies -- 5. Printmakers -- 6. Curators, Critics, Friends-and More Dealers -- II: Reading and Interpreting: Viewers -- 7. Reading by the Title -- 8. The Power of a Name -- 9. Many Can Read Print -- 10. Reading against the Title -- III: Authoring as Well as Painting: Artists -- 11. The Force of David's Oath -- 12. Turner's Poetic Fallacies -- 13. Courbet's Studio as Manifesto -- 14. Whistler's Symphonies and Other Instructive Arrangements -- 15. Magritte and the Use of Words -- 16. Johns's No and the Painted Word -- Acknowledgments -- Notes -- Index.

A picture's title is often our first guide to understanding the image. Yet paintings didn't always have titles, and many canvases acquired their names from curators, dealers, and printmakers--not the artists. Taking an original, historical look at how Western paintings were named, Picture Titles shows how the practice developed in response to the conditions of the modern art world and how titles have shaped the reception of artwork from the time of Bruegel and Rembrandt to the present. Ruth Bernard Yeazell begins the story with the decline of patronage and the rise of the art market in the seventeenth and eighteenth centuries, as the increasing circulation of pictures and the democratization of the viewing public generated the need for a shorthand by which to identify works at a far remove from their creation. The spread of literacy both encouraged the practice of titling pictures and aroused new anxieties about relations between word and image, including fears that reading was taking the place of looking. Yeazell demonstrates that most titles composed before the nineteenth century were the work of middlemen, and even today many artists rely on others to name their pictures. A painter who wants a title to stick, Yeazell argues, must engage in an act of aggressive authorship. She investigates prominent cases, such as David's Oath of the Horatii and works by Turner, Courbet, Whistler, Magritte, and Jasper Johns.????? Examining Western painting from the Renaissance to the present day, Picture Titles sheds new light on the ways that we interpret and appreciate visual art.

ISBN: 1400873460Subjects--Topical Terms:

3399641
Titles of works of art.

LC Class. No.: N7560

Dewey Class. No.: 702.8

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504 $a Includes bibliographical references and index.
505 0 $a Picture titles: how and why western paintings acquired their names -- Contents -- Illustrations -- Prologue (This is not a title) -- I: Naming and Circulating: Middlemen -- 1. Before Titles -- 2. Dealers and Notaries -- 3. Early Cataloguers -- 4. Academies -- 5. Printmakers -- 6. Curators, Critics, Friends-and More Dealers -- II: Reading and Interpreting: Viewers -- 7. Reading by the Title -- 8. The Power of a Name -- 9. Many Can Read Print -- 10. Reading against the Title -- III: Authoring as Well as Painting: Artists -- 11. The Force of David's Oath -- 12. Turner's Poetic Fallacies -- 13. Courbet's Studio as Manifesto -- 14. Whistler's Symphonies and Other Instructive Arrangements -- 15. Magritte and the Use of Words -- 16. Johns's No and the Painted Word -- Acknowledgments -- Notes -- Index.
520 3 $a A picture's title is often our first guide to understanding the image. Yet paintings didn't always have titles, and many canvases acquired their names from curators, dealers, and printmakers--not the artists. Taking an original, historical look at how Western paintings were named, Picture Titles shows how the practice developed in response to the conditions of the modern art world and how titles have shaped the reception of artwork from the time of Bruegel and Rembrandt to the present. Ruth Bernard Yeazell begins the story with the decline of patronage and the rise of the art market in the seventeenth and eighteenth centuries, as the increasing circulation of pictures and the democratization of the viewing public generated the need for a shorthand by which to identify works at a far remove from their creation. The spread of literacy both encouraged the practice of titling pictures and aroused new anxieties about relations between word and image, including fears that reading was taking the place of looking. Yeazell demonstrates that most titles composed before the nineteenth century were the work of middlemen, and even today many artists rely on others to name their pictures. A painter who wants a title to stick, Yeazell argues, must engage in an act of aggressive authorship. She investigates prominent cases, such as David's Oath of the Horatii and works by Turner, Courbet, Whistler, Magritte, and Jasper Johns.????? Examining Western painting from the Renaissance to the present day, Picture Titles sheds new light on the ways that we interpret and appreciate visual art.
650 0 $a Titles of works of art. $3 3399641
650 0 $a Painting. $3 524049
856 4 0 $u http://portal.igpublish.com/iglibrary/search/PUPB0003695.html $z click for full text