Why Are Our Pictures Puzzles?

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A01=James Elkins
art
Art Historical Practice
Art Historical Texts
Author_James Elkins
Brancacci Chapel
Category=ABA
Category=AGA
Category=JBCC
contemporary
Contemporary Art Historians
Dense
Dominique Bouhours
eq_art-fashion-photography
eq_bestseller
eq_isMigrated=1
eq_isMigrated=2
eq_nobargain
eq_non-fiction
eq_society-politics
Feste Galante
Hidden Images
hidden meaning in art interpretation
historian
historical
history
iconographic analysis
interpretive methodologies
Je Ne
je-ne-sais-quoi
leo
LISA
Millet's Angelus
Millet’s Angelus
mona
Mona LISA
Napoleon III
pictorial ambiguity
Picture Puzzle
Pieter Saenredam
Renaissance symbolism
Santa Maria Delle Grazie
Sistine Ceiling
Small Allegory
Spinal Cord
Tragic Myth
Van Eyck's Madonna
Van Eyck’s Madonna
Van Gogh's Shoes
Van Gogh’s Shoes
Vice Versa
visual perception theory
visual semiotics
Wild Men
writing
Young Man

Product details

  • ISBN 9780415919425
  • Weight: 536g
  • Dimensions: 152 x 229mm
  • Publication Date: 28 Jan 1999
  • Publisher: Taylor & Francis Ltd
  • Publication City/Country: GB
  • Product Form: Paperback
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With bracing clarity, James Elkins explores why images are taken to be more intricate and hard to describe in the twentieth century than they had been in any previous century. Why Are Our Pictures Puzzles? uses three models to understand the kinds of complex meaning that pictures are thought to possess: the affinity between the meanings of paintings and jigsaw-puzzles; the contemporary interest in ambiguity and 'levels of meaning'; and the penchant many have to interpret pictures by finding images hidden within them. Elkins explores a wide variety of examples, from the figures hidden in Renaissance paintings to Salvador Dali's paranoiac meditations on Millet's Angelus, from Persian miniature paintings to jigsaw-puzzles. He also examines some of the most vexed works in history, including Watteau's "meaningless" paintings, Michelangelo's Sistine Ceiling, and Leonardo's Last Supper.

James Elkins is Professor of Art History, Theory and Criticism at the School of the Art Institute of Chicago. He is the author of many books, including What PaintingIs (Routledge, 1998) and The Object Stares Back: On theNature of Seeing (1996).

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