By Leslie Ross
This booklet discusses textual content and picture relationships within the historical past of artwork from precedent days to the modern interval throughout a range of cultures and geographic components. concentrating on using phrases in artwork and phrases as paintings varieties, thematic chapters contain "Pictures in Words/Words in Pictures," "Word/Picture Puzzles," "Picture/Word Puzzles," "Words as Images," "The strength of the Word," and "Monumental and relocating Words." bankruptcy subsections additional discover cross-cultural issues. reading textual content and snapshot relationships from the most obvious to the elusive, the difficult to the profound, the minor to the foremost, the e-book demonstrates the various ways that photos and writing were mixed in the course of the a long time, and explores the interaction among visible and written verbal exchange in quite a lot of thought-provoking examples. a colour insert is integrated
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Additional resources for Language in the visual arts : the interplay of text and imagery
Example text
In a far more colorful and cheerful manner, the twentieth-century French artist Fernand Léger expressed his deep admiration for Jacques-Louis David by including an inscription in his 1948–49 painting Les Loisirs (Paris: Musée National d’Art Moderne, Centre Georges Pompidou) (illus. 10, in color insert). The reclining female figure in the foreground of this work holds a scroll/newspaper inscribed: Hommage à Louis David. Although Léger produced several versions of this image, the inscription included in the 1948–49 piece specifically contributes additional information conveyed from the artist to the viewer that adds to the visual “reading” of the work, especially for visually literate viewers able to make the connection to David’s oeuvre.
38 One. Pictures in Words/Words in Pictures whereas the right side panel, which became detached in the nineteenth century, is now in the Bargello Museum in Florence. Much scholarship has been devoted to the identification of the scenes as well as the inscriptions. The pictorial subjects include at least one Christian scene (the Adoration of the Magi), episodes from Roman history and mythology (such as Romulus and Remus), and episodes from Germanic legends (such as the Legend of Weland the Smith).
The several other initials in these manuscripts that depict scenes of monastic life—monks splitting a log, harvesting grain, folding cloth, felling a tree, and so forth—have long impressed modern viewers by their clever and charming compositions. These seem clearly to be illustrations of daily life and monastic agricultural labors, including what seem to be touches of whimsy and humor as well. For example, the enlarged initial “I” that appears on folio 41 in the third of these volumes (Dijon, Bibliothèque Municipale MS 173) is created of a huge leafy tree that extends the entire length of the left side of the page (illus.
