The Self-Aware Image

內容簡介

Victor Stoichita challenges the received ideas about the linear progression of Western painting, from the Renaissance, through Mannerism to the Baroque. Eschewing questions of style, he focuses instead on the painting as a framed, transportable, and marketable object that is a specifically modern artistic medium. Arguing that panel painting, from its origins in the Early Renaissance, was a 'self-aware image', Stoichita demonstrates that the artist and his art was often the theme of the painting. He also examines the mirror effect and other 'splitting' strategies such as the mise en abime and intertextual play. By analysing these modalities of self-reflection, Stoichita offers a new and unexpected view of a period and the art it produced once considered to have been definitively classified.

圖書目錄

Introduction

Part I. The Surprised Eye

1. Embrasures

2. The birth of still-life as an intertextual process

3. Margins

Part II. The Inquiring Eye

4. Assemblage

5. The turning point of painting

6. The intertextual machine

Part III. The Methodical Eye

7. Paintings, maps and mirrors

8. Two images: the painter/the act of painting

9. The reversed painting

The Self-Aware Image

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內容簡介

圖書目錄

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