Banquet Still Life

Adriaen van Utrecht; 6 ft. 53/64 in.x 7 ft. 11 15/32 in.; oil on canvas

Still Life with a Silver Jug and a Porcelain Bowl

Willem Kalf; 2 ft. 5 1/16 in.x 2 ft. 3 3/64 in.; oil on canvas

Still Life with Cheeses, Artichoke, and Cherries

Clara Peeters; 1 ft. 6 3/8 in.x 1 ft. 1 1/8 in.; oil on wood

Still Life with a Guitar

Juan Gris; 2 ft. 2 in.x 1 ft. 3 in.; oil on canvas

Very Still Life

Color photograph of painting by Jack Kevorkian "Very Still Life" (oil)

Still Life

'Still Life'is a six page feature in Frieze Magazine on Sarah Jones's practice which took the form of a conversation between the New York based fiction writer A.M.Homes and Jones. This was a conversation that had begun when A.M. Homes invited Jones to spend some time at Yaddo Artist's Colony in upstate New York firstly in 2006 and secondly as The Meredith Moody Fellow in 2008. Homes also wrote a short story in response to Jones' photographs for The National Media Museum's Archive publication (2007/8). This text was commissioned by the museum as part of Jones' solo exhibition at the conclusion of her tenure as the museum's Photography Felllow. Jones and Homes were invited by Frieze to formalise their correspondence for publication. The interview in Frieze magazine was edited by Jennifer Higgie from a taped conversation between Jones and Homes, made during a visit by Jones to New York to meet Homes in early 2008. The feature includes several full colour reproductions of Jones' work alongside the conversation.

Information for prospective researchers about the Still Picture Branch of the National Archives.

Mode of access: Internet.

Landscape painting

The images in this exhibition were based on questioning relationships between the histories of painting and photography, which helped to establish the indexical references that became both photography’s most powerful attribute and most subtle illusion. Debates over the objectivity or subjectivity of the photograph and the uneasy relationship between painting and photography, as played out in the history of art, have been brought into sharp relief with the contemporary proliferation of digital images. The digital realm of photography gives rise to a general and relative skepticism of verity, but it can be argued that to artist/photographers, this representational malleability is precisely what their purpose becomes. In researching current issues of the indexical in photographic practice, landscape provides a potent vehicle for exploring issues of representation and illusion, the nexus of painting and photography, and the digital realm. One of contemporary photography’s most resonant themes is a return to pictorial subjects and methods, including a renewed interest in floribunda, still life and landscape. The resulting deconstruction and reconstruction of landscape ‘painting’ in this body of work- the monochrome, linear abstraction, painterly representationalsism and pictorialist detail is presented as a perceptual, aesthetic and digital act. The exhibition incorporates landscape painting’s simplicity and complexity, photography’s significance of representation and minimalist aesthetics in an over-mediated world.

Intimate Ecologies: An exploration of the languages of contemporary exhibitions and making in museums and related cultural spaces in the UK

Intimate Ecologies considers the practice of exhibition-making over the past decade in formal museum and gallery spaces and its relationship to creating a concept of craft in contemporary Britain. Different forms of expression found in traditions of still life painting, film and moving image, poetic text and performance are examined to highlight the complex layers of language at play in exhibitions and within a concept of craft. The thesis presents arguments for understanding the value of embodied material knowledge to aesthetic experience in exhibitions, across a spectrum of human expression. These are supported by reference to exhibition case studies, critical and theoretical works from fields including social anthropology, architecture, art and design history and literary criticism and a range of individual, original works of art. Intimate Ecologies concludes that the museum exhibition, as a creative medium for understanding objects, becomes enriched by close study of material practice, and embodied knowledge that draws on a concept of craft. In turn a concept of craft is refreshed by the makers’ participation in shifting patterns of exhibition-making in cultural spaces that allow the layers of language embedded in complex objects to be experienced from different perspectives. Both art-making and the experience of objects are intimate, and infinitely varied: a vibrant ecology of exhibition-making gives space to this diversity.

Abrir a história : a imagem de arquivo e o movimento desacelarado : um estudo teórico-prático a partir dos filmes Natureza Morta e 48

Tese de doutoramento, Belas-Artes (Audiovisuais), Universidade de Lisboa, Faculdade de Belas-Artes, 2014

Symbolique florale dans le tableau de Jean-Baptiste Belin de Fontenay Vase d’or, fleurs et buste de Louis XIV (1687)

Le tableau de Jean-Baptiste Belin de Fontenay intitulé Vase d’or, fleurs et buste de Louis XIV est le morceau de réception que le peintre a présenté à l’Académie royale de peinture et de sculpture en 1687. Malheureusement peu étudié, ce tableau n’en comporte pas moins trois problématiques très intéressantes. Tout d’abord, il rassemble trois genres de peinture dans une seule composition : la nature morte, le portrait et la peinture d’histoire, illustrés respectivement par les fleurs, le buste du roi et la pièce d’armure. L’association de ces trois genres dans un tableau de nature morte est peu commune dans la peinture française du 17e siècle. Il est donc nécessaire de vérifier s’il existe un lien entre les fleurs, l’image de Louis XIV et l’armure. Ensuite, le contraste entre la polychromie des fleurs et la monochromie de la sculpture et de l’ameublement est frappante ; il est possible de lier ce contraste au phénomène des débats entre le dessin et la couleur de l’Académie royale de peinture et de sculpture à la deuxième moitié du 17e siècle. D’ailleurs, les fleurs, qui n’étaient pas le sujet central dans le programme original de Le Brun, deviennent le sujet principal du tableau et occupent une place plus importante que le buste de Louis XIV. Cette modification n’a cependant pas choqué les juges de l’Académie puisque la toile a été acceptée sans contestation. Elle amène donc à s’interroger sur la hiérarchie des genres de peinture qui est la doctrine officielle de l’Académie royale de peinture et de sculpture de l’époque. Le noyau de la recherche consiste à vérifier si les fleurs n’occupent qu’une simple fonction décorative ou si elles peuvent être associées à des symboles. Notre recherche examine d’abord l’utilisation des symboles floraux dans la culture française du 17e siècle. Par la suite, elle étudie cette utilisation dans le domaine politique, à savoir que les fleurs pourraient être liées à la louange de Louis XIV. Enfin, elle analyse les domaines artistiques et esthétiques, c’est-à-dire la façon dont le tableau reflète, par l’utilisation des symboles floraux, l’évolution des théories de l’art, la hiérarchie des genres de peinture et les débats du dessin et de la couleur, en France, durant la deuxième moitié du 17e siècle.

Le respect dans le cinéma de Jia Zhang-ke ou les empreintes fertiles du conteur ignorant

Pour respecter les droits d’auteur, la version électronique de ce mémoire a été dépouillée de certains documents visuels. La version intégrale du mémoire a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal

Whistler, and others /

"The first, third, tenth and fifteenth chapters in the present volume have seen the light already in ʻthe Nineteenth century'; the ninth is re-arranged from ʻthe Anglo-Saxon review'; and the sixteenth reprinted from ʻthe Magazine of fine arts' ... Certain of the remarks in other portions of this book were first made in the ʻStandard'."--Note.

Whistler, and others,

"The first, third, tenth and fifteenth chapters in the present volume have seen the light already in 'the Nineteenth century'; the ninth is re-arranged from 'the Anglo-Saxon review'; and the sixteenth reprinted from 'the Magazine of fine arts' ... Certain of the remarks in other portions of this book were first made in the 'Standard.'"--Note.