{"title":"Svetlana Alpers","description":"\u003cp\u003eDelve into the world of art history with Svetlana Alpers, a renowned scholar celebrated for her fresh perspectives on Dutch Golden Age art. Explore her insightful analyses and discover new ways of seeing.\u003c\/p\u003e","products":[{"product_id":"making-of-rubens-book-svetlana-alpers-9780300067446","title":"The Making of Rubens","description":"Reconsiders the concensus on Rubens as a successful, prolific, and facile court painter who is dwarfed by the achievements of his near-contemporary Rembrandt. This book scrutinizes the assumptions upon which this image is built, and discovers an artist involved with ambivalence and ambiguity.","brand":"WoB","offers":[{"title":"GB \/ GOOD \/ INTERNAL","offer_id":49516835602705,"sku":"GOR004019044","price":0.0,"currency_code":"GBP","in_stock":false},{"title":"GB \/ VERY_GOOD \/ INTERNAL","offer_id":49666135851281,"sku":"GOR002690971","price":0.0,"currency_code":"GBP","in_stock":false},{"title":"US \/ GOOD \/ SBYB","offer_id":50098465079569,"sku":"CIN0300067445G","price":0.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/4072\/6801\/files\/0300067445.jpg?v=1750812835"},{"product_id":"walker-evans-book-svetlana-alpers-9780691195872","title":"Walker Evans","description":"A magisterial study of celebrated photographer Walker Evans  Walker Evans (1903–75) was a great American artist photographing people and places in the United States in unforgettable ways. He is known for his work for the Farm Security Administration, addressing the Great Depression, but what he actually saw was the diversity of people and the damage of the long Civil War. In Walker Evans, renowned art historian Svetlana Alpers explores how Evans made his distinctive photographs. Delving into a lavish selection of Evans’s work, Alpers uncovers rich parallels between his creative approach and those of numerous literary and cultural figures, locating Evans within the wide context of a truly international circle.  Alpers demonstrates that Evans’s practice relied on his camera choices and willingness to edit multiple versions of a shot, as well as his keen eye and his distant straight-on view of visual objects. Illustrating the vital role of Evans’s dual love of text and images, Alpers places his writings in conversation with his photographs. She brings his techniques into dialogue with the work of a global cast of important artists—from Flaubert and Baudelaire to Elizabeth Bishop and William Faulkner—underscoring how Evans’s travels abroad in such places as France and Cuba, along with his expansive literary and artistic tastes, informed his quintessentially American photographic style.  A magisterial account of a great twentieth-century artist, Walker Evans urges us to look anew at the act of seeing the world—to reconsider how Evans saw his subjects, how he saw his photographs, and how we can see his images as if for the first time.","brand":"WoB","offers":[{"title":"GB \/ NEW \/ GARDNERS","offer_id":49738953294097,"sku":"NGR9780691195872","price":0.0,"currency_code":"GBP","in_stock":true},{"title":"US \/ GOOD \/ SBYB","offer_id":50309922619665,"sku":"CIN0691195870G","price":0.0,"currency_code":"GBP","in_stock":false},{"title":"US \/ VERY_GOOD \/ SBYB","offer_id":52993644953873,"sku":"CIN0691195870VG","price":0.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/4072\/6801\/files\/0691195870.jpg?v=1751450973"},{"product_id":"rembrandt-s-enterprise-book-svetlana-alpers-9780500235157","title":"Rembrandt's Enterprise","description":null,"brand":"WoB","offers":[{"title":"GB \/ VERY_GOOD \/ INTERNAL","offer_id":49874974441745,"sku":"GOR003246857","price":0.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/4072\/6801\/files\/0500235155.jpg?v=1751166973"},{"product_id":"art-of-describing-book-svetlana-alpers-9780226015125","title":"The Art of Describing","description":"The art historian after Erwin Panofsky and Ernst Gombrich is not only participating in an activity of great intellectual excitement; he is raising and exploring issues which lie very much at the centre of psychology, of the sciences and of history itself. Svetlana Alpers's study of 17th-century Dutch painting is a splendid example of this excitement and of the centrality of art history among current disciples. Professor Alpers puts forward a vividly argued thesis. There is, she says, a truly fundamental dichotomy between the art of the Italian Renaissance and that of the Dutch masters. . . . Italian art is the primary expression of a 'textual culture, ' this is to say of a culture which seeks emblematic, allegorical or philosophical meanings in a serious painting. Alberti, Vasari and the many other theoreticians of the Italian Renaissance teach us to 'read' a painting, and to read it in depth so as to elicit and construe its several levels of signification. The world of Dutch art, by the contrast, arises from and enacts a truly 'visual culture.' 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Beginning in the seventeenth century and continuing well into the twentieth, roughly from Rembrandt and Vermeer to Matisse and Picasso, a succession of European painters have taken the studio as the world, which is to say, the studio is where the world, as it gets into painting, is experienced. This is unprecedented. The studio phenomenon is not prominent in earlier European art, or in other pictorial traditions. In the first part of the book, Svetlana Alpers focuses on this retreat into the confines of the studio; in the second part she looks at what she calls the 'painterly pacific', or the ways in which the paintings of Dutch masters and Velazquez acknowledge war and rivalry and also offer a way out. The final chapters give a completely new account of Velazquez's Las Hilanderas or The Spinners, a ravishing painting which has been eclipsed by the attention paid to the enigmas of Las Meninas. Alpers concentrates on the art of the seventeenth century, but also looks back and forward in time. She considers Velazquez as curator of the Spanish royal collection, which included many works by his admired predecessors, Titian and Rubens. Velazquez also resembles Manet and the affinity between the two painters is analysed. Both worked in a tradition that assumed that there were persistent pictorial problems to take up. Inventive change was encouraged. Art such as this vexes or unsettles our view of the world even as it gives us reason to pause and look. The book concludes by asking whether painting continues to do that today. This highly original, compelling and passionately engaged book reflects Alpers's close looking and long reflection upon a certain tradition of European painting. 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It does not take the form of a story. It is instead a kind of self-portrait, or perhaps several self-portraits. Svetlana Alpers had been keeping files: records of what she saw out the windows of her loft in New York; records of art sold, bought, or seen on her walls; records of foods found in markets and prepared in places where she lived; and records of herself seen in photographs, drawings, and paintings made by others. In solving the question of her father’s place and date of birth, she reconstructs the life of her Russian grandfather in a distant and tumultuous Europe of a century ago. It was Roof Life that made it all come together. The title refers to what one discovers looking out from high windows with distant and distinctive views. In addition, it refers to the way one's attention is heightened and sharpened by confronting things that are unfamiliar, or that are made to appear unfamiliar by circumstances. 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The topics taken up include: painting's resistance to enacted narrative drama, its engagement with indeterminacies and repetitions, the senses in which painters may \"perform\" both past art and themselves, the constructive roles of gestural drawing, the exploitation of shifts of scale between design and finished work, the dialogue between the changing natural site lighting and in-picture lighting, contributions made by the beholder's own mobility, the expressive scope of tensions between two and three dimensions, the deep rationale of rococo formal structure, and the sources of the moral force of pictures that lack an explicit moral. 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Alpers makes us see how Rembrandt's complex and enormously popular art has embedded itself in our ways of thinking about who we are and how we live, even in the late 20th century.--Christopher Knight, Los Angeles Herald Examiner","brand":"WoB","offers":[{"title":"US \/ GOOD \/ SBYB","offer_id":49995180048657,"sku":"CIN0226015149G","price":0.0,"currency_code":"GBP","in_stock":false},{"title":"US \/ VERY_GOOD \/ SBYB","offer_id":51332617601297,"sku":"CIN0226015149VG","price":0.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/4072\/6801\/files\/0226015149.jpg?v=1750695525"},{"product_id":"art-of-describing-book-svetlana-alpers-9780226015132","title":"The Art of Describing","description":"\"The art historian after Erwin Panofsky and Ernst Gombrich is not only participating in an activity of great intellectual excitement; he is raising and exploring issues which lie very much at the centre of psychology, of the sciences and of history itself. 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He is known for his work for the Farm Security Administration, addressing the Great Depression, but what he actually saw was the diversity of people and the damage of the long Civil War. In Walker Evans, renowned art historian Svetlana Alpers explores how Evans made his distinctive photographs. Delving into a lavish selection of Evans’s work, Alpers uncovers rich parallels between his creative approach and those of numerous literary and cultural figures, locating Evans within the wide context of a truly international circle.  Alpers demonstrates that Evans’s practice relied on his camera choices and willingness to edit multiple versions of a shot, as well as his keen eye and his distant straight-on view of visual objects. Illustrating the vital role of Evans’s dual love of text and images, Alpers places his writings in conversation with his photographs. 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A magisterial account of a great twentieth-century artist, Walker Evans urges us to look anew at the act of seeing the world—to reconsider how Evans saw his subjects, how he saw his photographs, and how we can see his images as if for the first time.","brand":"WoB","offers":[{"title":"GB \/ NEW \/ GARDNERS","offer_id":50791363969297,"sku":"NGR9780691222615","price":0.0,"currency_code":"GBP","in_stock":true},{"title":"GB \/ VERY_GOOD \/ INTERNAL","offer_id":50920743174417,"sku":"GOR014124421","price":0.0,"currency_code":"GBP","in_stock":false},{"title":"US \/ NEW \/ INGRAM","offer_id":51005848846609,"sku":"NIN9780691222615","price":0.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/4072\/6801\/files\/0691222614.jpg?v=1751199802"},{"product_id":"tiepolo-and-the-pictorial-intelligence-book-svetlana-alpers-9780300068177","title":"Tiepolo and the Pictorial Intelligence","description":"Examines Tiepolo's works as examples of the specifically pictorial as distinct from the verbal intelligence. 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The pictures had been painted partly by Rubens himself, partly from his designs by a number of collaborators, among them Cornelis de Vos, Jacob Jordaens, Theodoor van Thulden and Erasmus Quellinus. Today, forty of these paintings, more than fifty of Rubens's brilliant sketches and a few preparatory drawings survive. 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Her writing spans over six decades: beginning with seminal essays written in examination of the constraints of the art historical discipline, including a foundational essay on Vasari (1960), Is Art History? (1970), Style Is What You Make It (1979) and Art History and Its Exclusions (1982); two never before published lectures and other unpublished public presentations; notable critical essays on art and recent texts on contemporary artists including Alex Katz, Catherine Murphy and Shirley Jaffe.\u003cbr\u003e\u003ci\u003eIs Art History?\u003c\/i\u003e also includes new prefatory notes written by the author for this occasion, an unexpected introduction by her former student, the esteemed scholar-critic Richard Meyer, and an interview with the German author and critic Ulf Erdmann Ziegler. This extensive view of Alpers' prolific and varied career appeals both to new readers in need of an introduction and to audiences familiar with her essential writing on the great European tradition of painting.\u003cbr\u003e\u003cb\u003eSvetlana Alpers\u003c\/b\u003e (born 1936) is the author of \u003ci\u003eThe Art of Describing\u003c\/i\u003e and \u003ci\u003eRembrandt's Enterprise\u003c\/i\u003e, among other titles. Alpers taught at the University of California, Berkeley from 1962 to 1994 and is the recipient of numerous awards and honors including being named a Fellow of the American Academy of Art and Sciences and the American Philosophical Society. 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