LEADER 00000cam a2200481 i 4500 
001    on1096467436 
003    OCoLC 
005    20191203074120.0 
008    190414t20192019quca     b    001 0 eng   
020    9780773558953|q(cloth) 
020    0773558950|q(cloth) 
020    9780773558960|q(paper) :|c$44.95 
020    0773558969|q(paper) 
035    (OCoLC)1096467436 
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       |dNDD|dGSU|dOCLCQ|dCNNGC|dBKL|dUtOrBLW 
042    lac 
049    BKLA 
082 0  758/.99|223 
099    758.99|aW 
245 00 What was history painting and what is it now? /|cedited by
       Mark Salber Phillips and Jordan Bear. 
264  1 Montreal :|bMcGill-Queen's University Press,|c[2019] 
264  4 |c©2019 
300    viii, 311 pages :|billustrations (some color) ;|c24 cm. 
336    text|btxt|2rdacontent 
336    still image|bsti|2rdacontent 
337    unmediated|bn|2rdamedia 
338    volume|bnc|2rdacarrier 
490 1  McGill-Queen's/Beaverbrook Canadian Foundation studies in 
       art history 
504    Includes bibliographical references (pages 273-293) and 
       index. 
505 00 |gIntroduction.|tWhat was history painting and what is it 
       now? /|rMark Salber Phillips --|gPart 1.|tHuman figures 
       and human viewers --|gIntroduction /|rJordan Bear --
       |tFiguring history and the end of the Renaissance: notes 
       on Agnolo Bronzino's "Martyrdom of San Lorenzo" /|rStuart 
       Lingo --|tA Rococo aesthetic: history painting and the 
       self's embodiment /|rSusanna Caviglia --|tHistory painting
       redistanced: from Benjamin West to David Wilkie /|rMark 
       Salber Phillips --|gPart 2.|tHistory painting in the 
       marketplace --|gIntroduction /|rJordan Bear --|tJames 
       Gillray's "The Death of the Great Wolf" and the satiric 
       alternative to history painting /|rCynthia Ellen Roman --
       |tHistorical distance and historic doubts: representing 
       Napoleon in exile /|rJordan Bear --|tLandscape and the 
       problem of history: Thomas Cole and Anglo-Atlantic 
       modernity /|rTim Barringer --|gPart 3.|tHistory painting 
       after modernism --|gIntroduction /|rJordan Bear --|tMyth, 
       melancholy, and history: figural dialectics and José 
       Clemente Orozco's "Epic of American Civilization" /|rMary 
       K. Coffey --|tHistory painting after conceptual art /
       |rJames Nisbet --|tWhat is the history in contemporary 
       history painting? /|rDexter Dalwood --|tUnwritten history:
       William Kentridge's "Triumphs and Laments," Piazza Tevere,
       Rome, 2016 /|rMichael Godby --|tReimagining global 
       modernity in the age of neo-liberal patronage: the history
       paintings of Julie Mehretu /|rElizabeth Harney --|t"Earth 
       Death Pictures" as contemporary history painting /|rMark 
       A. Cheetham. 
520    "The dominant visual language of European painting from 
       the Renaissance to the nineteenth century, history 
       paintings were formidable in their monumental scale, 
       ambitious moral lessons, and intricate narratives. With 
       the rise of modernist avant-gardes, the genre receded from
       the forefront of artistic production into the realm of 
       nostalgia. Yet history painting cast a shadow that would 
       subtly colour even the works that sought to displace it. 
       Exploring the resilience of this distinctive mode of 
       visual representation, What Was History Painting and What 
       Is It Now? brings together an internationally 
       distinguished group of scholars to trace the endurance, 
       adaptation, and mutation of history painting. These 
       studies offer a reexamination of the fortunes of the genre
       from North America to Europe and Africa. Organized around 
       illuminating themes, the book explores the creation of an 
       audience attuned to the genre's didactic aims, the entry 
       of history painting into the marketplace of commercial art
       and attractions, and the reimagination of the mode in 
       response to the edicts of modern and contemporary art. 
       Spanning the full range and diversity of history painting,
       this collection is a broad reconsideration of the 
       tradition and the vibrant ways in which it resonates 
       through the art of the present."--|cProvided by publisher.
530    Issued also in electronic format. 
650  0 History painting. 
650  7 History painting.|2fast|0(OCoLC)fst01749759 
700 1  Phillips, Mark,|d1946-|eeditor. 
700 1  Bear, Jordan,|eeditor. 
776 08 |iOnline version:|tWhat was history painting and what is 
       it now?|dMontreal ; Kingston ; London ; Chicago : McGill-
       Queen's University Press, 2019|z0228000351|z9780228000358
       |w(OCoLC)1104227690 
830  0 McGill-Queen's/Beaverbrook Canadian Foundation studies in 
       art history. 
947    zun 
948    MARS 
994    C0|bBKL 
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