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This richly illustrated book examines the wide-ranging role the medium played throughout Claude's career. The book presents some of Claude's most remarkable drawings, representing all aspects of his style and subject matter, from informal outdoor sketches of trees, rivers, and ruins to formal presentation drawings and elaborate compositional designs for paintings, many of which have never before been reproduced in colour. A detailed and scholarly essay places them within the social and cultural contexts of their time and includes comparative illustrations of paintings and etchings to situate them within the artist's oeuvre. 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Speculative in every sense, these essays are marked by a common concern for the act of reading as it is practiced in the work of Jacques Derrida. The contributors—Geoffrey Bennington, Paul Davies, Peter Fenves, Werner Hamacher, Jean-Michel Rabaté, Elisabeth Weber, and Jacques Derrida himself—study a range of authors, including Pascal, Kant, Hegel, Leibniz, Marx, Benjamin, Koyré, Arendt, and Lacan.   These readings are neither prescriptive, definitive, nor definitional. Each essay seeks out, in the work it studies, those moments that pronounce or propose futures that enable speculation, moments in which the speculator has to make promises. As Derrida says in his essay, “Between lying and acting, acting in politics, manifesting one’s own freedom through action, transforming facts, anticipating the future, there is something like an essential affinity. . . . The lie is the future.” Or, in the words of Werner Hamacher, “The futurity of language, its inherent promising capacity, is the ground—but a ground with no solidity whatever—for all present and past experiences, meanings, and figures which could communicate themselves in it.”   These essays, though arising from deconstruction, point out the ways in which deconstruction has yet to occur, and they do so by scanning the unattainable horizons marked off by thinkers at the forefront of our modern era.","brand":"WoB","offers":[{"title":"GB \/ VERY_GOOD \/ INTERNAL","offer_id":50028667175185,"sku":"GOR006316707","price":0.0,"currency_code":"GBP","in_stock":false},{"title":"US \/ WELL_READ \/ SBYB","offer_id":50366956208401,"sku":"CIN0804739560A","price":0.0,"currency_code":"GBP","in_stock":false},{"title":"US \/ NEW \/ INGRAM","offer_id":51007486198033,"sku":"NIN9780804739566","price":0.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/4072\/6801\/files\/0804739560.jpg?v=1757413258"},{"product_id":"intimate-encounters-book-richard-rand-9780691016627","title":"Intimate Encounters","description":"Paintings by such celebrated eighteenth-century artists as Watteau, Boucher, Chardin, Fragonard, Greuze, and Boilly have long been admired for their charming and intimate subjects - fetes galantes, pastorals, tableaux de mode, middle-class domestic interiors, and scenes of family life and romantic love - and for their pleasing colour schemes. In this lavishly illustrated and produced book, genre painting is explored for the first time within the broader cultural context of Enlightenment France.Through a series of innovative and lively essays dealing largely with aspects of art, gender, and politics in the decades preceding the French Revolution, \"Intimate Encounters\" enables us to appreciate genre paintings anew: although they are almost always attractive to the eye, sometimes to the point of appearing fanciful, the paintings also bear the intellectual imprint of turbulent times. the interactions of 'ordinary' people - nonhistorical, nonmythic figures - within the family and in romantic encounters. We learn that genre painters tended to infuse their depictions of intimacy with moral and ideological significance. Their imagery coincided with fundamental debates over gender roles and relationships, the family, child-rearing, and illicit versus conjugal love, topics that were crucial to such writers and social commentators as Rousseau, Diderot, and Laclos.Published in conjunction with a major travelling exhibition, \"Intimate Encounters\" contains five essays written by specialists from a variety of disciplines, which are followed by fifty-one full catalog entries on the paintings included in the show. The essays delve into such matters as art criticism and the presence of women in cultural life (Richard Rand), the family and the ideology of sentimentalism (Sarah Maza), the influence of innovative theater on genre painting (Mark Ledbury), the debate over women's rights (Virginia Swain), and the production and marketing of prints to a growing art audience (Anne L. 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