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Why does the literary romance so often refer to paintings and other visual art objects? Beginning with these two seemingly unrelated questions, Wendy Steiner reveals an intricate exchange between the visual arts and the literary romance.   Romances violate the casual, temporal, and logical cohesiveness of realist novels, and they do so in part by depicting love as a state of suspension, a condition outside of time. Steiner argues that because Renaissance and post-Renaissance painting also represents a suspended moment of perception with \"unnatural\" clarity and compression of meaning, it readily serves the romance as a symbol of antirealism. Yet the atemporality of stopped-action painting was actually an attempt to achieve pictorial realism—the way things \"really\" look. It is this paradox that interests Steiner: to signal their departure from realism, romances evoke the symbol of \"realistic\" visual artwork. Steiner explores this problem through analyses of Keats, Hawthorne, Joyce, and Picasso. She then examines a return to narrative conventions in visual art in the twentieth century, in the work of Lichtenstein and Warhol, and speculates on the fate of pictorial storytelling and the romance in postmodern art. 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Disdained by avant-garde artists, feminists, and activists, beauty and its major symbols of art--the female subject and ornament--became modernist taboos. To this day it is hard to champion beauty in art without sounding aesthetically or politically retrograde. Steiner argues instead that the experience of beauty is a form of communication, a subject-object interchange in which finding someone or something beautiful is at the same time recognizing beauty in oneself. This idea has led artists and writers such as Marlene Dumas, Christopher Bram, and Cindy Sherman to focus on the long-ignored figure of the model, who function in art as both a subject and an object. 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