Results for 'Manet, Gonzo'

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  1. La esfera pública y El bar de las Folies Bergère de Edouard Manet.Carlos Vanegas - 2014 - Revista Colombiana de Pensamiento Estético E Historia Del Arte:121-137.
    The main discourses on art during the nineteenth century defined the artist as a spirit that should express their unbridled creativity, and overall that had the strength to express its total personal autonomy from institutional processes of culture. Thus, Manet’s work A bar at the Folies—Bergere contains substantial elements that express and help us to understand both the role of the artist, as the crisis of meaning in the work of modern art and problematic public sphere, treated by Haberma's as (...)
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  2.  22
    Gonzo Strategies of Deceit: An Interview with Joaquin Segura.Brett W. Schultz - 2011 - Continent 1 (2):117-124.
    Joaquin Segura. Untitled (fig. 40) . 2007 continent. 1.2 (2011): 117-124. The interview that follows is a dialogue between artist and gallerist with the intent of unearthing the artist’s working strategies for a general public. Joaquin Segura is at once an anomaly in Mexico’s contemporary art scene at the same time as he is one of the most emblematic representatives of a larger shift toward a post-national identity among its youngest generation of artists. If Mexico looks increasingly like a foreclosed (...)
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  3. "Masterpiece" Studies: Manet, Zola, van Gogh, and Monet.Kermit S. Champa - 1994 - Pennsylvania State University Press.
    In _"Masterpiece" Studies_ Kermit Champa offers new ways to interpret modernism that have previously been closed off by the application of the reigning art-historical methodologies to the study of the modernist achievement. He focuses on four separate phenomena—Manet's last Salon painting, _Bar at the Folies-Bergèr_e;_ L'Oeuvre_, Zola's novel about the realist/impressionist movement; Van Gogh's problematic versions of a single painting, _La Berceuse_; and the immanent "series" phenomenon of Monet's work of the period. Champa reveals the importance of music, in particular (...)
     
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  4.  11
    Art and Act, on Causes in History: Manet, Gropius, Mondrian.Alan C. Birnholz - 1977 - Journal of Aesthetics and Art Criticism 35 (4):490-491.
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  5. Manet and the Object of Painting.Michel Foucault - 2009 - Tate.
  6.  49
    The Painting of Modern Life: Paris in the Art of Manet and His Followers.T. J. Clark - 1985 - Journal of Aesthetics and Art Criticism 44 (2):203-205.
  7. Intention and Interpretation: Manet's Luncheon in the Studio.Nan Stalnaker - 1996 - Journal of Aesthetics and Art Criticism 54 (2):121-134.
  8.  13
    Liber Manet: Pliny, Ep. 9.27.2 and Jerome, Ep. 130.19.5.Andrew Cain - 2008 - Classical Quarterly 58 (2):708-.
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  9. Fear and Loathing in Academe: Gonzo "Scholarship" and the War Against Tourism.Daniel Stempel - 2007 - Philosophy and Literature 31 (1):95-110.
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  10.  12
    Manet's Modernism, or, the Face of Painting in the 1860s.Michael Fried - 1998 - Journal of Aesthetics and Art Criticism 56 (3):319-320.
  11.  69
    Edouard Manet's ‘Ars Poetica’ of 1868.George T. Noszlopy - 1968 - British Journal of Aesthetics 8 (2):183-190.
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  12.  43
    Foucault, Michel . La Peinture de Manet Suivi de Michel Foucault Un Regard. Sous la Direction de Maryvonne Saison . Paris: Seuil, 2004. [REVIEW]John Elias Nale - 2005 - Foucault Studies 2:145-149.
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  13.  23
    Between Realisms: From Derrida to Manet.Michael Fried - 1994 - Critical Inquiry 21 (1):1-36.
  14.  1
    Manet, Marin, Marines.Stéphane Guégan - 2019 - Cahiers Philosophiques 2:41.
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  15. Il Faut Défendre la Société; Society Must Be Defended; Les Anormaux; Abnormal; LʼHerméneutique du Sujet; Le Pouvoir Psychiatrique; La Peinture de Manet, Suivi de Michel Foucault, Un Regard. [REVIEW]David Macey - 2005 - Radical Philosophy 130.
     
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  16.  27
    Emergence of Challenge Mechanism in the Light of Existing Secure Routing Schemes in MANET.Geethu Bastian & Arun Soman - 2013 - Emergence: Complexity and Organization 2 (6).
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  17.  23
    Painting Memories: On the Containment of the Past in Baudelaire and Manet.Michael Fried - 1984 - Critical Inquiry 10 (3):510-542.
    Near the beginning of Charles Baudelaire’s Salon of 1846—one of the most brilliant and intellectually ambitious essays in art criticism ever written—the twenty-five-year-old author states that “the critic should arm himself from the start with a sure criterion, a criterion drawn from nature, and should then carry out his duty with a passion; for a critic does not cease to be a man, and passion draws similar temperaments together and exalts the reason to fresh heights.”1 It may be the emphasis (...)
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  18.  1
    La Peinture De Manet Suivi De Michel Foucault Un Regard. Sous La Direction De Maryvonne Saison. Paris: Seuil, 2004. [REVIEW]John Elias Nale - 2005 - Foucault Studies:145-149.
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  19.  17
    Penitus manet ignotum.Anton C. Pegis - 1965 - Mediaeval Studies 27 (1):212-226.
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  20.  31
    The Work of Art as Psychoanalytical Object: Wollheim on Manet.Daniel Herwitz - 1991 - Journal of Aesthetics and Art Criticism 49 (2):137-153.
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  21.  3
    Art and Act. On Causes in History: Manet, Gropius, Mondrian.Richard Wollheim - 1977 - History and Theory 16 (3):354.
  22.  18
    How Manet's "A Bar at the Folies-Bergère" Is Constructed.Thierry de Duve & Brian Holmes - 1998 - Critical Inquiry 25 (1):136-168.
  23.  2
    Critical Response I-Precision, Misprecision, Misprision (Manet, A'Bar at the Folies-Bergere').James Elkins - 1998 - Critical Inquiry 25 (1):169-180.
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  24.  17
    Divisions of Manet.John Nale - 2007 - Philosophy Today 51 (1):17-25.
  25.  11
    Manet und die Wende zur modernen Malerei.Hans Michael Thomas - 1979 - Zeitschrift für Religions- Und Geistesgeschichte 31 (1):277-282.
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  26.  22
    The Specter of Manet: A Contribution to the Archaeology of Painting.Joseph J. Tanke - 2008 - Journal of Aesthetics and Art Criticism 66 (4):381-392.
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  27.  13
    Littera Scripta Manet B. B. Powell: Writing and the Origins of Greek Literature . Pp. Xvi + 210, Maps, Ills. Cambridge: Cambridge University Press, 2002. Cased, £40, US$55. ISBN: 0-521-78206-. [REVIEW]Armand D'Angour - 2005 - The Classical Review 55 (02):394-.
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  28.  9
    Manet in His Generation: The Face of Painting in the 1860s.Michael Fried - 1992 - Critical Inquiry 19 (1):22-69.
  29. The Matter of a Materialist Philosophy of Art: Bataille's Manet.Andrew Benjamin - unknown
     
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  30.  8
    Manet Manette.Wayne V. Andersen - 2004 - Common Knowledge 10 (1):162-163.
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  31.  8
    Peter Gay, "Art and Act. On Causes in History: Manet, Gropius, Mondrian". [REVIEW]Richard Wollheim - 1977 - History and Theory 16 (3):354.
  32.  4
    Michel Foucault, Manet and the Object of Painting, Translated by Matthew Barr.Suzanne Verderber - 2015 - Foucault Studies 19:266-272.
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  33.  1
    Comment on Thierry de Duve's' How Manet's' A Bar at the Folies-Bergere'Is Constructed'.W. Conger - 1999 - Critical Inquiry 26 (1):159-160.
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  34.  1
    Manet und die Wende zur modernen Malerei.Hans Michael Thomas - 1979 - Zeitschrift für Religions- Und Geistesgeschichte 31 (3):277-282.
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  35.  2
    Manet, Effects of Black.Claude Imbert - 2011 - Paragraph 34 (2):187-198.
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  36.  2
    Modernity and Its Discontents: Manet, Flaubert, Cézanne, Zola.David Trotter - 1996 - Paragraph 19 (3):251-271.
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  37.  3
    Et Nunc Manet in Te.Maurizio Ferraris - 2014 - Rivista di Estetica 55:203-211.
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  38.  2
    具体・維新派・Gonzo--松本雄吉インタビュー (特集 日本のパフォーマンス). 松本雄吉 & 中西理 - 2009 - Corpus (Misc) 6:2-6.
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  39.  2
    ダンスとパフォーマンスの狭間--Gontact Gonzo インタビュー (特集 日本のパフォーマンス). 中西 - 2009 - Corpus (Misc) 6:7-11.
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  40. Manet and the Family Romance. By Nancy Locke.S. Cordulack - 2003 - The European Legacy 8 (5):658-658.
     
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  41. "The Painting of Modern Life: Paris in the Art of Manet and His Followers": T. J. Clark. [REVIEW]Peter Dickens - 1986 - British Journal of Aesthetics 26 (3):294.
     
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  42. Critical Response II-Intuition, Logic, Intuition (Manet, A'Bar at the Folies-Bergere').T. D. Duve - 1998 - Critical Inquiry 25 (1):181-189.
     
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  43. Review of La Peinture de Manet. [REVIEW]John Elias Nale - 2005 - Foucault Studies 2:145-9.
     
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  44. Intermediality and the Equivalency of Time and Space : Manet's Psycho-Chronotope.George Smith - 2010 - In Henk Oosterling & Ewa Płonowska Ziarek (eds.), Intermedialities: Philosophy, Arts, Politics. Lexington Books.
     
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  45.  65
    The Birth and Death of Beauty in Western Art.Derek Allan - manuscript
    Examines (1) the birth of the art-of-beauty in Western art and the concomitant birth of the idea of art itself; (2) the death of the art-of-beauty from Manet onwards. Also looks briefly at some major implications for aesthetics (the philosophy of art). Paper includes some relevant reproductions.
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  46.  42
    The Prometheus Challenge.Arnold Cusmariu - 2017 - Symposion: Theoretical and Applied Inquiries in Philosophy and Social Sciences 4 (1):17-47.
    Degas, Manet, Picasso, Dali and Lipchitz produced works of art exemplifying a seeming impossibility: Not only combining incompatible attributes but doing so consistently with aesthetic strictures Horace formulated in Ars Poetica. The article explains how these artists were able to do this, achieving what some critics have called ‘a new art,’ ‘a miracle,’ and ‘a new metaphor.’ The article also argues that the author achieved the same result in sculpture by means of philosophical analysis – probably a first in the (...)
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  47.  76
    Beauty, Art and the Western Tradition.Derek Allan - manuscript
    From the Renaissance onwards, the Western tradition singled out the term beauty for a unique and highly prestigious role. As Christian belief began its gradual decline, Renaissance art invented a rival transcendence in the form of an exalted world of nobility, harmony and beauty – the world exemplified by the works of painters such as Raphael, Titian and Poussin. Beauty in this sense quickly became the ruling ideal of Western art, subsequently underpinning the explanations of the nature and function of (...)
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  48.  44
    Only a Promise of Happiness: The Place of Beauty in a World of Art.Alexander Nehamas - 2007 - Princeton University Press.
    Neither art nor philosophy was kind to beauty during the twentieth century. Much modern art disdains beauty, and many philosophers deeply suspect that beauty merely paints over or distracts us from horrors. Intellectuals consigned the passions of beauty to the margins, replacing them with the anemic and rarefied alternative, "aesthetic pleasure." In Only a Promise of Happiness, Alexander Nehamas reclaims beauty from its critics. He seeks to restore its place in art, to reestablish the connections among art, beauty, and desire, (...)
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  49. Painting the Difference: Sex and Spectator in Modern Art.Peg Brand - 2007 - Journal of Aesthetics and Art Criticism 65 (2):244-246.
    British art historian Charles Harrison presumes the existence of a patriarchal world with power in the hands of men who dominate the representation of women and femininity. He applauds the ground-breaking work of feminist theorists who have questioned this imbalance of power since the 1970s. He stops short, however, of accepting their claims that all women have been represented by male artists as images of “utter passivity” (p. 4), routinely reduced by the male gaze to the status of exploited sexual (...)
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  50. After the Beautiful: Hegel and the Philosophy of Pictorial Modernism.Robert B. Pippin - 2013 - University of Chicago Press.
    In his Berlin lectures on fine art, Hegel argued that art involves a unique form of aesthetic intelligibility—the expression of a distinct collective self-understanding that develops through historical time. Hegel’s approach to art has been influential in a number of different contexts, but in a twist of historical irony Hegel would die just before the most radical artistic revolution in history: modernism. In _After the Beautiful_, Robert B. Pippin, looking at modernist paintings by artists such as Édouard Manet and Paul (...)
     
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