Francoise Barbe-Gall studied history of art at the Sorbonne and also at the Ecole du Louvre, where she now teaches. She also directs an association called CORETA (Comment Regarder un Tableau), for whom she gives many lectures. She is regularly called upon to participate in management workshops, where her experience of analysing images in relation to publicity and marketing is called upon. Editions de l'Agenda de L'Empresa have published a collection of her articles, and she is the author of several articles on the work of the sculptor Tom Carr. She is the author of How to Talk to Children about Art and How to Understand a Painting, both published in English by Frances Lincoln.
Which of us, when finding ourselves in the presence of a painting, has not sensed that we lack the keys to decipher it? We feel an emotional response, but the work still seems to evade our understanding.
Francoise Barbe-Gall combines a nuanced understanding of the way viewers respond to paintings with a rich knowledge of their context and circumstances of their creation. The result is like a tour of a dazzlingly eclectic museum in the company of a gentle yet authoritative guide.
She takes as her point of departure the impressions that we all feel when confronted by a canvas and takes us on a voyage of discovery fired by her own passionate enthusiasm for the subject. What is the painting’s relationship with the real world? Has the artist idealized nature, or distorted it? Did they want to shock the viewer, or provide consolation? With a clear approach and straightforward yet subtle analysis, the meaning of each work slowly becomes clear.
From Raphael’s penetrating character study of Castiglione, through Hopper’s cinematic take on the wee small hours of the morning Barbe-Gall begins by covering a number of ostensibly realistic works, made from the stuff of everyday life. Going in quite the other direction, she looks at the way paintings can express moments of heightened reality, from the perfection of Boticelli’s Primavera to the arresting glance of Vermeer’s girl with the Pearl Earring. She discusses paintings that distort the visible world (Parmigianino’s Madonna with an improbably long neck to Dali’s melting clocks) and those that sow confusion to make us more vigilant and pay closer attention to the real world (Cezanne’s depiction of a forest glade, or a mysterious fifteenth century altarpiece). Questions of history, style, iconography and composition are not neglected and are dealt in context of the paintings she discusses.
我们面对一幅图像的第一反应,不管是一见钟情,还是不屑一顾,或者淡如白水,主要取决于它表现画意内容的方法。首先映入我们眼帘的,是画作与自然之间的相似程度;也可能是它将世界理想化或是转换的方式…… 但无论表达的是何种信息,能让赏画者深深触动的,发出自己的共鸣,融...
评分文/Peter Wang 最近看了两本跟赏画有关的书,一本是这个,还有一个就是《小顾聊绘画》,看完两本书,我自己在微信群跟人讲了一次课,名字就叫《如何看懂一幅画》。今天,我把我讲课的实录写到这里,算作是本书的一个读书笔记。 【文字实录】 我今天要讲的呢,主要就三个问题...
评分估计很多人都看过微博上那个很热的帖子:“一句话教你认出世界各种著名画家作品” “如果画上每个人都是受尽人世折磨脸而且全是黑森森的背景,不用说,一定是提香; 如果所有人都有个大屁股,那就是鲁本斯; 如果每个男人都画得跟个卷发的娘炮的话,那就是卡拉瓦乔了; 如果画...
评分用眼看画 用心感受 《如何看一幅画》,这个书名一下子就吸引我了,正好补充下从小到大所缺乏的艺术细胞,作为一枚文艺女青年,怎么能连画都不会看呢?再加上前一阵刚读过《小顾聊绘画》,感觉相当不错,而这本新书的作者来自艺术之都巴黎,相信一定会有更加专业、更加特别的见...
评分文/Peter Wang 最近看了两本跟赏画有关的书,一本是这个,还有一个就是《小顾聊绘画》,看完两本书,我自己在微信群跟人讲了一次课,名字就叫《如何看懂一幅画》。今天,我把我讲课的实录写到这里,算作是本书的一个读书笔记。 【文字实录】 我今天要讲的呢,主要就三个问题...
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