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Yale University Press
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Still Life with a Plaster Cupid

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Description: Still Life with a Plaster Cupid
Related content: Chapters (5) Images (42)

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Description: The Painted Face: Portraits of Women in France, 1814–1914
PAUL CÉZANNE RETURNED MANY TIMES to the image of his wife, Hortense Fiquet...
PublisherYale University Press
Related print edition pages: pp.139-179
https://doi.org/10.37862/aaeportal.00298.4
Description: Cézanne’s Gravity
What is an object? What is space? And what is the relation between the two concepts? These are three questions that this chapter shall attempt to address, by looking comparatively at the way Cézanne the artist thought about them and the way Einstein the scientist reasoned about them. My aim is not to...
PublisherYale University Press
Related print edition pages: pp.53-85
https://doi.org/10.37862/aaeportal.00292.2
Description: Giorgio de Chirico and the Metaphysical City: Nietzsche, Modernism, Paris
Almost immediately after Italy entered World War One in May of 1915, Giorgio de Chirico and his brother, Alberto Savinio, departed Paris to serve in the 27th infantry regiment of the Italian army in Ferrara. Exchanging their international exploits for a national identity – a “proper passport,” as Giorgio later recalled – the brothers still advertised their...
PublisherYale University Press
Related print edition pages: pp.31-71
https://doi.org/10.37862/aaeportal.00059.005
Description: The Art of Impressionism: Painting Technique and the Making of Modernity
This is how Paillot de Montabert defined the term ‘support’ in his major treatise on painting in 1829. Paillot de Montabert 1829, vol. IX, p.io; cf. the definition in Gettens and Stout 1966, p. 258. The most typical supports for easel painting in the nineteenth century were canvas, panel, paper...
PublisherYale University Press
Related print edition pages: pp.15-29
https://doi.org/10.37862/aaeportal.00125.005
Description: Farewell to an Idea: Episodes from a History of Modernism
Some time in late summer 1912 Picasso took a photograph (fig. 94) at the front door of the villa he had rented for the season at Sorgues. We know that Braque had brought down the “machine à photographie” specially from Paris a week or so before. The picture records the main paintings Picasso had done over the previous two months. On the doorstep, from left to right, are perched the imposing Portrait of a Man, which in time got called the Aficionado (fig. 95), the equally grand …
PublisherYale University Press
Related print edition pages: pp.169-223
https://doi.org/10.37862/aaeportal.00048.007

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