Norman Bryson
Biographic Data
| ID | 256399 |
|---|---|
| NAME | Norman Bryson |
| GIVEN NAMES | Norman |
| FAMILY NAME | Bryson |
| SIGNATURE | BRYSON N |
| AFFILIATIONS | CAMBBRIDGE |
| VERIFIED | No |
| TOTAL WORKS | 15 |
| TOTAL CITATIONS | 5 |
| AUTHOR COUNT | 14 |
| EDITOR COUNT | 1 |
| FIRST PUBLICATION YEAR | 1981 |
| LATEST PUBLICATION YEAR | 2017 |
| H-INDEX | 1 |
Gender and Power in the Japanese Visual Field
In this, the first collection in English of feminist-oriented research on Japanese art and visual culture, an international group of scholars examines representations of women in a wide range of visual work. The volume begins with Chino Kaori's now-classic essay "Gender in Japanese Art," which introduced feminist theory to Japanese art. This is followed by a closer look at a famous thirteenth-century battle scroll and the production of bijin (bea…
Responses to Mieke Bal's `Visual Essentialism and the Object of Visual Culture' (2003)
Cultural Studies and Dance History
Cultural Studies and Dance History
Philostratus and the Imaginary Museum
The Imagines of the Elder Philostratus must count as one of the great ruins of antiquity.1 From the Renaissance until the time of the excavations at Pompeii and Herculaneum, the Imagines, together with the surviving fragments preserved in Rome, constituted virtually all that could be known in Europe concerning classical painting. Even today, when so much more of that painting has been brought to light, the Imagines remains a unique resource. It i…
Visual Culture
We can no longer see, much less teach, transhistorical truths, timeless works of art, and unchanging critical criteria without a highly developed sense of irony about the grand narratives of the past, declare the editors, who also coedited Visual Theory: Painting and Interpretation (1990). The field of art history is not unique in finding itself challenged and enlarged by cultural debates over issues of class, ethnicity, nationality, sexual orien…
Looking at the Overlooked
Historically and culturally, the societies that produced still-life painting could hardly be more diverse. What is it then, that allows us to place such different types of images within a single category? Norman Bryson writes about this subject with skill and eloquence in Looking at the Overlooked
Mary Kelly's "Interim"
Visual Thoery
Looking at the Overlooked
Chardin and the Text of Still Life
Representing the real
Word and Image
David's Oath of the Horatii and the Question of ‘Influence’
Journal Article DAVID'S OATH OF THE HORATIIAND THE QUESTION OF ‘INFLUENCE’ Get access NORMAN BRYSON NORMAN BRYSON CAMBBRIDGE Search for other works by this author on: Oxford Academic Google Scholar French Studies, Volume XXXVII, Issue 4, October 1983, Pages 404–425, https://doi.org/10.1093/fs/XXXVII.4.404 Published: 01 October 1983
Absorption and Theatricality
Absorption and Theatricality
Word and Image
David's Oath of the Horatii and the Question of ‘Influence’
Journal Article DAVID'S OATH OF THE HORATIIAND THE QUESTION OF ‘INFLUENCE’ Get access NORMAN BRYSON NORMAN BRYSON CAMBBRIDGE Search for other works by this author on: Oxford Academic Google Scholar French Studies, Volume XXXVII, Issue 4, October 1983, Pages 404–425, https://doi.org/10.1093/fs/XXXVII.4.404 Published: 01 October 1983
Representing the real
Chardin and the Text of Still Life
Looking at the Overlooked
Mary Kelly's "Interim"
Visual Thoery
Looking at the Overlooked
Historically and culturally, the societies that produced still-life painting could hardly be more diverse. What is it then, that allows us to place such different types of images within a single category? Norman Bryson writes about this subject with skill and eloquence in Looking at the Overlooked
Philostratus and the Imaginary Museum
The Imagines of the Elder Philostratus must count as one of the great ruins of antiquity.1 From the Renaissance until the time of the excavations at Pompeii and Herculaneum, the Imagines, together with the surviving fragments preserved in Rome, constituted virtually all that could be known in Europe concerning classical painting. Even today, when so much more of that painting has been brought to light, the Imagines remains a unique resource. It i…
Visual Culture
We can no longer see, much less teach, transhistorical truths, timeless works of art, and unchanging critical criteria without a highly developed sense of irony about the grand narratives of the past, declare the editors, who also coedited Visual Theory: Painting and Interpretation (1990). The field of art history is not unique in finding itself challenged and enlarged by cultural debates over issues of class, ethnicity, nationality, sexual orien…
Cultural Studies and Dance History
Cultural Studies and Dance History
Responses to Mieke Bal's `Visual Essentialism and the Object of Visual Culture' (2003)
Gender and Power in the Japanese Visual Field
In this, the first collection in English of feminist-oriented research on Japanese art and visual culture, an international group of scholars examines representations of women in a wide range of visual work. The volume begins with Chino Kaori's now-classic essay "Gender in Japanese Art," which introduced feminist theory to Japanese art. This is followed by a closer look at a famous thirteenth-century battle scroll and the production of bijin (bea…
Art (12 works) · Visual arts (8 works) · History (7 works) · Art history (5 works) · Painting (5 works) · Political science (4 works) · Aesthetics (3 works) · Computer Science (3 works) · Philosophy (3 works) · Sociology (3 works)