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Vision of the Sermon (Jacob Wrestling with the Angel)

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Description: Vision of the Sermon (Jacob Wrestling with the Angel)
Related content: Chapters (5) Images (140)

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Description: Naked Authority: The Body in Western Painting, 1830–1908
This chapter explores particular paintings by male artists which work with images of female physiology; like the previous chapter, it is grounded in the view that a categorisation of the male artist as inalienable, ahistorical and monumental which is a feature of the historiography of art is untenable in today’s analysis of visual culture of the past...
PublisherYale University Press
Related print edition pages: pp.98-112
Description: Looking at Men: Anatomy, Masculinity and the Modern Male Body
Like art and medicine, combat sports provide a licit space both actual and virtual for looking closely at and representing the...
PublisherYale University Press
Related print edition pages: pp.64-109
https://doi.org/10.37862/aaeportal.00297.3
Description: The Power of Color: Five Centuries of European Painting
~~Beginning in the 1880s, painters introduced color that did not represent visual reality. Turning away from materialism and what they often described as decadent urban society, these painters delved inside themselves for ways to express the values they held dear. Although disassociated from institutional religion, Paul Gauguin and...
PublisherYale University Press
Related print edition pages: pp.229-253
https://doi.org/10.37862/aaeportal.00228.007
Description: The Troubled Republic: Visual Culture and Social Debate in France, 1889–1900
n March 1891 the young critic Albert Aurier published an extended article on the recent work of Paul Gauguin in the Mercure de France, praising his startlingly innovative work...
PublisherYale University Press
Related print edition pages: pp.117-167
https://doi.org/10.37862/aaeportal.00162.006
Description: Farewell to an Idea: Episodes from a History of Modernism
Camille Pissarro’s Two Young Peasant Women (fig. 20) was first shown to the public in late January 1892. It was part of a wide-ranging exhibition of Pissarro’s past and recent work – the kind we would now call a retrospective – put on at the Durand-Ruel Gallery, in a fashionable shopping street just off the boulevard des Italiens. The catalogue for the show invited the visitor to look at Pissarro’s paintings chronologically, or with a sense of how paintings done in the previous few months …
PublisherYale University Press
Related print edition pages: pp.55-137
https://doi.org/10.37862/aaeportal.00048.005

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