Francoise Barbe-Gall studied history of art at the Sorbonne and also at the Ecole du Louvre, where she now teaches. She also directs an association called CORETA (Comment Regarder un Tableau), for whom she gives many lectures. She is regularly called upon to participate in management workshops, where her experience of analysing images in relation to publicity and marketing is called upon. Editions de l'Agenda de L'Empresa have published a collection of her articles, and she is the author of several articles on the work of the sculptor Tom Carr. She is the author of How to Talk to Children about Art and How to Understand a Painting, both published in English by Frances Lincoln.
Which of us, when finding ourselves in the presence of a painting, has not sensed that we lack the keys to decipher it? We feel an emotional response, but the work still seems to evade our understanding.
Francoise Barbe-Gall combines a nuanced understanding of the way viewers respond to paintings with a rich knowledge of their context and circumstances of their creation. The result is like a tour of a dazzlingly eclectic museum in the company of a gentle yet authoritative guide.
She takes as her point of departure the impressions that we all feel when confronted by a canvas and takes us on a voyage of discovery fired by her own passionate enthusiasm for the subject. What is the painting’s relationship with the real world? Has the artist idealized nature, or distorted it? Did they want to shock the viewer, or provide consolation? With a clear approach and straightforward yet subtle analysis, the meaning of each work slowly becomes clear.
From Raphael’s penetrating character study of Castiglione, through Hopper’s cinematic take on the wee small hours of the morning Barbe-Gall begins by covering a number of ostensibly realistic works, made from the stuff of everyday life. Going in quite the other direction, she looks at the way paintings can express moments of heightened reality, from the perfection of Boticelli’s Primavera to the arresting glance of Vermeer’s girl with the Pearl Earring. She discusses paintings that distort the visible world (Parmigianino’s Madonna with an improbably long neck to Dali’s melting clocks) and those that sow confusion to make us more vigilant and pay closer attention to the real world (Cezanne’s depiction of a forest glade, or a mysterious fifteenth century altarpiece). Questions of history, style, iconography and composition are not neglected and are dealt in context of the paintings she discusses.
这幅画真美!这画的是啥?这玩意我一天能画一百幅! 好,现在就让我们认识一下“真美”;“看不懂”;你觉得“很瞎”的画。 先来说说真美序列里的,拉斐尔《巴尔达萨雷 卡斯蒂利奥内》。 都知道拉斐尔很牛,书中这副人物画得更是深沉、有质感。拉大师在画作...
评分这本书读起来就好像是一份下午茶的甜点。静下心来品尝,很美好的午后。 它结构是 case study 式的,所以确切来说是“如何看这几幅画”,不同于《如何阅读一本书》是明确的方法论式的。 这么看来,更适合下午茶时间了,高兴可以多看几幅,不高兴可以随时放下。 对于每一幅画,...
评分艺术,有时候真是一个最好装腔作势的话题,就是门槛有点高,爬到一半摔下来也不是没可能。黄永玉就曾经讲过一个故事,他在卢浮宫亲眼看到夫妇俩指着伦勃朗的一幅老头像赞叹地说:“啊!蒙娜丽莎!” 当然,你会说,如何欣赏艺术,是一件私人的事。认识蒙娜丽莎的人那么多,非...
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