Jorella Andrews Boeken

Rembrandt van Rijn is probably the most famous Dutch painter of the seventeenth century. His works are greatly loved today, but he was not always so well regarded. His life was one of a dramatic rise and fall, unfolding during the Golden Age of the newly formed Dutch Republic. Rembrandt's public acclaim and wealth as a painter came to him as a very young man. His images were vigorous, psychologically compelling but also often less-than-flattering. By his middle age taste had shifted to more idealized visions, and by the time of his death in 1669 Rembrandt was destitute. But whether the public was with or against him, Rembrandt continued to paint with the same passion, and arguably the art he produced in his final, destitute years is his most intimate, sensitive and open

Largely due to the “linguistic turn” that has dominated the humanities since the mid-twentieth century, many contemporary scholars and artists habitually equate works of art with highly coded texts to be deciphered, deconstructed, or otherwise interpreted. Here, meaning, value, and impact have been fundamentally linked to art's capacity to “speak,” to represent, to raise questions about representation, to convey a message, or articulate a concept. Much visual culture scholarship has tried to engage with art and the image-world outside of these logics.Within this quest to consider art differently, Jorella Andrews and Simon O'Sullivan pay attention to the asignifying character of art, or simply its affective qualities. Drawing on the work of key thinkers (for O'Sullivan, the writings of Gilles Deleuze, Félix Guattari, and Jean-François Lyotard) and turning to paradigmatic works of art (for Andrews, film and video pieces by Rosalind Nashashibi and Jayne Parker), they contextualize these art-related matters in relation to a significant recent rise in new thinking about objects, objectness, and objectivity within philosophy, critical theory, and ethics.Copublished with Goldsmiths, University of London

Paul Cézanne stellte die Konvention in Frage und leistete Pionierarbeit für die moderne Malerei. Er hat Landschaften und Alltagsleben in einer Weise gemalt, die den Formen eine eigene Autonomie gegeben hat. Dieses Buch begleitet Cézanne auf seiner künstlerischen Reise und konzentriert sich auf seine prägenden Entdeckungen, die er abseits der modischen Metropole Paris in der Provinz und im ländlichen Frankreich gemacht hat.