This study argues that Diego Velázquez painted two of his most famous works, The Spinners and Las Meninas, as theoretically informed manifestos of painterly brushwork. Knox presents a Velázquez who was much more aware of the art theory of his era than previously acknowledged, leading to his new interpretation of these works as representing together a polemically charged celebration of the "handedness" of painting.
This study argues that Diego Velázquez painted two of his most famous works, The Spinners and Las Meninas, as theoretically informed manifestos of painterly brushwork. Knox presents a Velázquez who was much more aware of the art theory of his era than previously acknowledged, leading to his new interpretation of these works as representing together a polemically charged celebration of the "handedness" of painting.
Giles Knox is an Assistant Professor in the Department of the History of Art, Indiana University, USA.
Inhaltsangabe
Contents: Introduction Critical responses to painterly painting An allegory of painterly painting The Spinners and the triumph of Venice The Spinners: a witty critique Las Meninas: social and structural perspectives Las Meninas: painterly polemics Select bibliography: Index.
Contents: Introduction Critical responses to painterly painting An allegory of painterly painting The Spinners and the triumph of Venice The Spinners: a witty critique Las Meninas: social and structural perspectives Las Meninas: painterly polemics Select bibliography: Index.
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