{"product_id":"creative-writing-and-art-history-isbn-9781444350395","title":"Creative Writing and Art History","description":"\u003ci\u003eCreative Writing and Art History\u003c\/i\u003e considers the ways in which the writing of art history intersects with creative writing. Essays range from the analysis of historical examples of art historical writing that have a creative element to examinations of contemporary modes of creative writing about art.  \u003cul\u003e \u003cli\u003eConsiders the ways in which the writing of art history intersects with creative writing\u003c\/li\u003e \u003cli\u003eCovers a diverse subject matter, from late Neolithic stone circles to the writing of a sentence by Flaubert\u003c\/li\u003e \u003cli\u003eThe collection both contains essays that survey the topic as well as more specialist articles\u003c\/li\u003e \u003cli\u003eBrings together specialist contributors from both sides of the Atlantic\u003c\/li\u003e \u003c\/ul\u003e  6 Notes on Contributors  \u003cp\u003e8 Chapter 1 'A narrative of what wishes what it wishes it to be': An Introduction to 'Creative Writing and Art History'\u003cbr\u003e \u003ci\u003eCatherine Grant\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e22 Chapter 2 Writing Perceptions: The Matter of Words and the Rollright Stones\u003cbr\u003e \u003ci\u003eNicholas Chare\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e46 Chapter 3 (Blind Summit) Art Writing, Narrative, Middle Voice\u003cbr\u003e \u003ci\u003eGavin Parkinson\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e66 Chapter 4 Connoisseurship, Painting, and Personhood\u003cbr\u003e \u003ci\u003eJeremy Melius\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e88 Chapter 5 Under the Hat of the Art Historian: Panofsky, Berenson, Warburg\u003cbr\u003e \u003ci\u003eFrancesco Ventrella\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e110 Chapter 6 'The Liar': Fictions of the Person\u003cbr\u003e \u003ci\u003ePatricia Rubin\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e130 Chapter 7 'Scattered notes': Authorship and Originality in Paul Gauguin's \u003ci\u003eDiverses choses\u003cbr\u003e Linda Goddard\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e148 Chapter 8 'Sudden gleams of (f)light': 'Intuition as Method'?\u003cbr\u003e \u003ci\u003eCharlotte de Mille\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e166 Chapter 9 Rotten Sun\u003cbr\u003e \u003ci\u003eC. F. B. Miller\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e190 Chapter 10 Notes on Writing as Vertigo\u003cbr\u003e \u003ci\u003eSatish Padiyar\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e201 Index\u003c\/p\u003e  \u003cp\u003e\u003cb\u003eCatherine Grant\u003c\/b\u003e is Lecturer in Visual Cultures at Goldsmiths, University of London. She co-ordinated the Writing Art History project at the Courtauld Institute of Art with Patricia Rubin and is the co-editor (with Lori Waxman) of \u003ci\u003eGirls! Girls! Girls! in Contemporary Art\u003c\/i\u003e (2011). \u003c\/p\u003e \u003cp\u003e\u003cb\u003ePatricia Rubin\u003c\/b\u003e is Judy and Michael Steinhardt Director\u003cb\u003e \u003c\/b\u003eof the Institute of Fine Arts, New York University. She is a member of the International Advisory Board of \u003ci\u003eArt History\u003c\/i\u003e and the author of \u003ci\u003eGiorgio Vasari: Art and History\u003c\/i\u003e (1995),\u003ci\u003eRenaissance Florence: The Art of the 1470s\u003c\/i\u003e (1999), and \u003ci\u003eImages and Identity in Fifteenth-Century Florence\u003c\/i\u003e (2007), and co-author of \u003ci\u003e Renaissance Florence: The Art of the 1470s\u003c\/i\u003e (1999).\u003c\/p\u003e  \u003cp\u003eThis collection of articles considers the ways in which the writing of art history intersects with creative writing, from the creative writing \u003ci\u003eof\u003c\/i\u003e art history to dialogues \u003ci\u003ebetween\u003c\/i\u003e styles of creative and art-historical writing. The subject matter covered is diverse, from late Neolithic stone circles to the writing of a sentence by Flaubert. Yet a number of questions circulate – in particular, the stakes involved in various forms of art-historical writing, and the claims made for the art historian’s interpretation. Some authors analyse historical examples of art-historical writing that have a creative element, others explore conversations between literature and art history, whilst others attempt their own modes of creative writing about art. The topics covered within this varied collection include Paul Gauguin’s collages of quotations, Sophie Calle’s collaboration with Paul Auster, Henry James’ portraiture, Bernard Berenson’s fictional artist ‘Amico di Sandro’, Virginia Woolf’s ‘visual’ writing, Pablo Picasso’s solar mythology as re-written by Georges Bataille\u003cb\u003e,\u003c\/b\u003e and creative writing in the ‘middle voice’.\u003c\/p\u003e","brand":"Wiley-Blackwell","offers":[{"title":"Default Title","offer_id":47989003256037,"sku":"NP9781444350395","price":43.75,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1842\/7735\/files\/9781444350395.jpg?v=1761782391","url":"https:\/\/k12savings.com\/es\/products\/creative-writing-and-art-history-isbn-9781444350395","provider":"K12savings","version":"1.0","type":"link"}