Paul Duro
Datos Biográficos
| ID | 444151 |
|---|---|
| NOMBRE | Paul Duro |
| NOMBRES | Paul |
| APELLIDO | Duro |
| FIRMA | DURO P |
| AFILIACIONES | Australian National University Canberra |
| ORCID | 0000-0001-7928-0145 |
| VERIFICADO | Sí |
| TOTAL DE OBRAS | 19 |
| TOTAL DE CITAS | 3 |
| OBRAS COMO AUTOR | 19 |
| OBRAS COMO EDITOR | 0 |
| PRIMER AÑO DE PUBLICACIÓN | 1986 |
| AÑO MÁS RECIENTE DE PUBLICACIÓN | 2023 |
| ÍNDICE H | 1 |
Making Space for Painting
Like the frame, the spaces of painting are constructions that factor into the (re)production of the limits of the pictorial world. How these spaces are viewed – when they are acknowledged as there at all – is largely overlooked in favor of a focus on the subject or “meaning” of the artwork, as if the key to understanding the image is to be found in the title – the starting point for the average gallery visitor’s apprehension of the artwork. This …
Framing the Fragment
Imitation and Authority
From Work to Frame
Ancients and Moderns
Diderot and the destination of art
While Denis Diderot’s pronouncements on art have received a great deal of critical attention, they have not been sufficiently studied from the point of view of prevailing approaches to imitation. Consideration of his salon criticism reveals that questions of mimesis and imitation are fundamental to an understanding of his views on painting and to the destination of art in eighteenth-century France. Whether his objections are addressed to artists …
Why Imitation, and Why Global
Great and Noble Ideas of the Moral Kind’
Detail from The Alchymist, (plate 7). Joseph Wright of Derby, The Alchymist, 1770. Oil on canvas, 80.2 × 106 cm. Derby: Derby Museum and Art Gallery. Photo: The Bridgeman Art Library. From the point of view of tracing the development of the sublime in eighteenth-century art and thought it is unsurprising that many of the greatest minds of the century should associate the concept with the inexpressible grandeur of the cosmos. Immanuel Kant, in a p…
Partisan Canons
Giving Up on History? Challenges to the Hierarchy of the Genres in Early Nineteenth‐century France
This essay argues for the continuing importance of the hierarchy of the genres to French painting after the Revolution and for the hierarchy's destabilization through the introduction of new genres, notably the sub‐category of history painting known as ‘ le genre historique ’, in the early years of the nineteenth century. While history painting, traditionally the genre of choice of the ambitious artist and mainstay of academic ideology, remained …
Académie Royale de Peinture et de Sculpture
Morceau de réception
Académie des Beaux-Arts (Paris)
France
Picture This
Picture This Get access Thomas Puttfarken : The Discovery of Pictorial Composition: Theoris of visual Order in Painting 1400–1800 Yale University Press : New Haven and London , 2000 ), 111 b&w + 56 colour illns, 332 pp., hardback ISBN 0-300-08156-1 , £35.00. Paul Duro Paul Duro Search for other works by this author on: Oxford Academic Google Scholar Oxford Art Journal, Volume 26, Issue 1, 2003, Pages 153–156, https://doi.org/10.1093/oxartj/26.1.1…
Quotational Art
Retaining the Original: Multiple Originals, Copies, and Reproductions , Studies in the History of Art, Volume 20, National Gallery of Art, Washington, 1989, distrib. Hanover and London: University Press of New England, 180 pp., 1 colour, 123 b. & w. illus., $19.95
Admirable Revisionism’
Past and Present in Art and Taste: Selected Essays by Francis Haskell , New Haven and London: Yale University Press, 1987, 255 pp., 215 b. & w. illus., £20
Un Livre Ouvert a l'Instruction
‘Un Livre Ouvert à l'Instruction’: Study Museums in Paris in the Nineteenth Century PAUL DURO PAUL DURO Search for other works by this author on: Oxford Academic Google Scholar Oxford Art Journal, Volume 10, Issue 1, 1987, Pages 44–58, https://doi.org/10.1093/oxartj/10.1.44 Published: 01 March 1987
The "Demoiselles a Copier" in the Second Empire
Diderot and the destination of art
While Denis Diderot’s pronouncements on art have received a great deal of critical attention, they have not been sufficiently studied from the point of view of prevailing approaches to imitation. Consideration of his salon criticism reveals that questions of mimesis and imitation are fundamental to an understanding of his views on painting and to the destination of art in eighteenth-century France. Whether his objections are addressed to artists …
Giving Up on History? Challenges to the Hierarchy of the Genres in Early Nineteenth‐century France
This essay argues for the continuing importance of the hierarchy of the genres to French painting after the Revolution and for the hierarchy's destabilization through the introduction of new genres, notably the sub‐category of history painting known as ‘ le genre historique ’, in the early years of the nineteenth century. While history painting, traditionally the genre of choice of the ambitious artist and mainstay of academic ideology, remained …
The "Demoiselles a Copier" in the Second Empire
The "Demoiselles a Copier" in the Second Empire
Un Livre Ouvert a l'Instruction
‘Un Livre Ouvert à l'Instruction’: Study Museums in Paris in the Nineteenth Century PAUL DURO PAUL DURO Search for other works by this author on: Oxford Academic Google Scholar Oxford Art Journal, Volume 10, Issue 1, 1987, Pages 44–58, https://doi.org/10.1093/oxartj/10.1.44 Published: 01 March 1987
Admirable Revisionism’
Past and Present in Art and Taste: Selected Essays by Francis Haskell , New Haven and London: Yale University Press, 1987, 255 pp., 215 b. & w. illus., £20
Quotational Art
Retaining the Original: Multiple Originals, Copies, and Reproductions , Studies in the History of Art, Volume 20, National Gallery of Art, Washington, 1989, distrib. Hanover and London: University Press of New England, 180 pp., 1 colour, 123 b. & w. illus., $19.95
Académie Royale de Peinture et de Sculpture
Morceau de réception
Académie des Beaux-Arts (Paris)
France
Picture This
Picture This Get access Thomas Puttfarken : The Discovery of Pictorial Composition: Theoris of visual Order in Painting 1400–1800 Yale University Press : New Haven and London , 2000 ), 111 b&w + 56 colour illns, 332 pp., hardback ISBN 0-300-08156-1 , £35.00. Paul Duro Paul Duro Search for other works by this author on: Oxford Academic Google Scholar Oxford Art Journal, Volume 26, Issue 1, 2003, Pages 153–156, https://doi.org/10.1093/oxartj/26.1.1…
Giving Up on History? Challenges to the Hierarchy of the Genres in Early Nineteenth‐century France
This essay argues for the continuing importance of the hierarchy of the genres to French painting after the Revolution and for the hierarchy's destabilization through the introduction of new genres, notably the sub‐category of history painting known as ‘ le genre historique ’, in the early years of the nineteenth century. While history painting, traditionally the genre of choice of the ambitious artist and mainstay of academic ideology, remained …
Partisan Canons
Great and Noble Ideas of the Moral Kind’
Detail from The Alchymist, (plate 7). Joseph Wright of Derby, The Alchymist, 1770. Oil on canvas, 80.2 × 106 cm. Derby: Derby Museum and Art Gallery. Photo: The Bridgeman Art Library. From the point of view of tracing the development of the sublime in eighteenth-century art and thought it is unsurprising that many of the greatest minds of the century should associate the concept with the inexpressible grandeur of the cosmos. Immanuel Kant, in a p…
Why Imitation, and Why Global
Diderot and the destination of art
While Denis Diderot’s pronouncements on art have received a great deal of critical attention, they have not been sufficiently studied from the point of view of prevailing approaches to imitation. Consideration of his salon criticism reveals that questions of mimesis and imitation are fundamental to an understanding of his views on painting and to the destination of art in eighteenth-century France. Whether his objections are addressed to artists …
Ancients and Moderns
Imitation and Authority
From Work to Frame
Framing the Fragment
Making Space for Painting
Like the frame, the spaces of painting are constructions that factor into the (re)production of the limits of the pictorial world. How these spaces are viewed – when they are acknowledged as there at all – is largely overlooked in favor of a focus on the subject or “meaning” of the artwork, as if the key to understanding the image is to be found in the title – the starting point for the average gallery visitor’s apprehension of the artwork. This …
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