A classic text for art students everywhere, an edited selection of VVG's letters. * That Vincent van Gogh was one of the greatest painters in the history of European art is now generally accepted. That he was a man of high intelligence and tender affections these letters abundantly establish. By their directness and humility they bring us an intimate understanding of genius. To anyone interested in painting or in the mind of a creative artist they are indispensable. * But what makes them of supreme importance is their fascination for people who have, in the ordinary way, no particular interest in the arts. It is the human spirit, not the fame of the artist, that is the secret of their perennial attraction. * This selection by Professor Mark Roskill, who contributes an introduction and notes, also includes the memoir of van Gogh written by his sister-in-law.

The Letters of Vincent Van Gogh

Roskill, Mark

Flamingo

An introduction to the way art history works. A classic in its field, What Is Art History? now appears in a second edition with a new introduction by the author.

What is Art History?

Arts & Photography

History & Criticism

Harpercollins Publisher

An introduction to the way art history works. A classic in its field, What Is Art History? now appears in a second edition with a new introduction by the author.

What Is Art History#(Icon Editions)

Icon (Harpe)

In an original and broad-ranging study, Mark Roskill shows how social, cultural, and political events in Europe during the first forty years of the twentieth century provide a context for understanding the work of Paul Klee and Wassily Kandinsky. The two artists, who knew each other well and taught together for some time, responded to philosophical ideas, literature, music, and world events by producing some of the most intriguing and at times perplexing art of their time.Roskill's interpretation considers Klee and Kandinsky in relation to the artistic climate of the Munich Academy, the Bauhaus in both Weimar and Dessau, and other major cultural centers, including Paris. He examines their links with avant-garde groups and movements such as Der Blaue Reiter, Dada, Surrealism, and German Expressionism, and chronicles their struggles against Nazi censors who labeled them degenerate.

Klee, Kandinsky, and the Thought of Their Time: A CRITICAL PERSPECTIVE

University of Illinois Press

In an original and broad-ranging study, Mark Roskill shows how social, cultural, and political events in Europe during the first forty years of the twentieth century provide a context for understanding the work of Paul Klee and Wassily Kandinsky. The two artists, who knew each other well and taught together for some time, responded to philosophical ideas, literature, music, and world events by producing some of the most intriguing and at times perplexing art of their time. Roskill's interpretation considers Klee and Kandinsky in relation to the artistic climate of the Munich Academy, the Bauhaus in both Weimar and Dessau, and other major cultural centers, including Paris. He examines their links with avant-garde groups and movements such as Der Blaue Reiter, Dada, Surrealism, and German Expressionism, and chronicles their struggles against Nazi censors who labeled them degenerate.

Klee, Kandinsky, and the Throught of Their Time: A Critical Perspective

In The Languages of Landscape, Mark Roskill employs a new approach to understanding Western landscape art, from antiquity to the present, by linking the concerns of its creators to the ways in which such art was viewed in successive periods or contexts. Roskill uses new methodologies deriving from sociology, anthropology, the study of rhetorical theory, and especially a version of visual semiotics for this analysis.The discussion covers artists not usually associated with landscape, such as Goya and Gericault, as well as major figures such as Bruegel and Dürer. Roskill ranges over topics of current interest such as the gendering of art; art in the service of colonialism; popularized uses of landscape; and the imagery of war-scarred countryside. He addresses issues of intertextuality; audience awareness; response to social and industrial developments; the tropologies of rhetoric as they apply to visual imagery; and the problematic status of landscape art in this century.Thematically organized within a loosely chronological framework, The Languages of Landscape combines detailed analysis of specific examples with supporting material, related texts of the time, and a larger theoretical exposition. At the same time it serves as a reference work on basic topics such as the rise of independent landscape and the picturesque and the sublime. Eighty illustrations, including twelve in color, accompany the text, and an appended glossary of technical and linguistic terms is provided.

The Languages of Landscape

Penn State University Press

What Is Art History

Norton*(ww Norton Co

Truth and Falsehood in Visual Images

Literature & Fiction

University of Massachusetts Press

This volume examines the ways pictures are interpreted, discussing the practices of interpretation that inform the modern discipline of art history in contrast to those that prevailed in earlier periods. As an introductory text on the traditions and principles of interpretation, the book explores key methods in a clear, untechnical fashion and shows how the personalities and backgrounds of particular art historians have contributed to the character of their writings. Based on case studies from the fifteenth century to the present, the work begins with a discussion of the rhetoric of artwriting. Chapter 1 defines art history as a profession in which interpretation is a basic act, exploring the terms of discourse that follow from this premise and explaining how persuasiveness and sometimes consensus on the meaning of an art object are achieved. Chapter 2 focuses on imagery and creative processes, showing how interpretation can bridge the personal aspect of meaning with the communal and social aspects. Chapter 3 looks at the relationship of interpretation to various institutions of art history, especially museums. Discussing the issue of indeterminacy, the author questions whether there is any given or "core" identity to an art object apart from those attributed to it by particular interpreters.

The Interpretation of Pictures

What Is Art History? (Library)

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