MARC Record from harvard_bibliographic_metadata

LEADER: 03028cam a2200421 i 4500
001 014151112-5
005 20141023135639.0
008 140124s2014 enk b 001 0 eng
010 $a 2014002721
015 $aGBB452987$2bnb
016 7 $a016724159$2Uk
020 $a9781472429445 (hardcover : alk. paper)
020 $a1472429443 (hardcover : alk. paper)
035 0 $aocn870211349
040 $aDLC$erda$beng$cDLC$dYDX$dYDXCP$dBTCTA$dERASA$dOCLCO$dUKMGB$dUKTTE$dOCLCF$dSTF
042 $apcc
050 00 $aND1158.S45$bS59 2014
082 00 $a750.1/8$223
100 1 $aSjåstad, Øystein,$eauthor.
245 12 $aA theory of the Tache in nineteenth-century painting /$cØystein Sjåstad.
264 1 $aFarnham, Surrey ;$aBurlington, VT :$bAshgate,$c[2014]
300 $ax, 179 pages ;$c24 cm.
336 $atext$btxt$2rdacontent
337 $aunmediated$bn$2rdamedia
338 $avolume$bnc$2rdacarrier
490 1 $aStudies in art historiography
504 $aIncludes bibliographical references and index.
505 0 $aIntroduction. To Overlook or to Over-look -- The Tache as a Sign Between Perception and Imagination -- A Theory of Sign Crossings -- The Tache Before Manet -- Manet's Tache. An Art of Inconsistency -- Cézanne's Field of Taches. Between Touch and Vision -- Seurat's Point and Signac's 'Not-Dot' -- Matisse's Farewell to the Tache -- Afterword. Eye and Hand.
520 $aWithout question, the tache (blot, patch, stain) is a central and recurring motif in nineteenth-century modernist painting. Manet's and the Impressionists' rejection of academic finish produced a surface where the strokes of paint were presented directly, as patches or blots, then indirectly as legible signs. Cézanne, Seurat, and Signac painted exclusively with patches or dots. Through a series of close readings, this book looks at the tache as one of the most important features in nineteenth-century modernism. The tache is a potential meeting point between text and image and a pure trace of the artist's body. Even though each manifestation of tacheism generates its own specific cultural effects, this book represents the first time a scholar has looked at tacheism as a hidden continuum within modern art. With a methodological framework drawn from the semiotics of text and image, the author introduces a much-needed fine-tuning to the classic terms index, symbol, and icon. The concept of the tache as a 'crossing' of sign-types enables finer distinctions and observations than have been available thus far within the Peircean tradition. The 'sign-crossing' theory opens onto the whole terrain of interaction between visual art, art criticism, literature, philosophy, and psychology.--Publisher.
650 0 $aPainting$xSemiotics.
650 0 $aPainting, Modern$y19th century.
650 7 $aPainting, Modern.$2fast
650 7 $aPainting$xSemiotics.$2fast
648 7 $a1800 - 1899$2fast
830 0 $aStudies in art historiography.
899 $a415_565082
988 $a20140901
906 $0DLC