9780804733236

Fictions of the Pose

by
  • ISBN13:

    9780804733236

  • ISBN10:

    0804733236

  • Format: Hardcover
  • Copyright: 2000-04-01
  • Publisher: Stanford Univ Pr
  • Purchase Benefits
  • Free Shipping On Orders Over $35!
    Your order must be $35 or more to qualify for free economy shipping. Bulk sales, PO's, Marketplace items, eBooks and apparel do not qualify for this offer.
  • Get Rewarded for Ordering Your Textbooks! Enroll Now
List Price: $105.00 Save up to $3.15
  • Buy New
    $101.85
    Add to Cart Free Shipping

    USUALLY SHIPS IN 7-10 BUSINESS DAYS

Supplemental Materials

What is included with this book?

  • The New copy of this book will include any supplemental materials advertised. Please check the title of the book to determine if it should include any access cards, study guides, lab manuals, CDs, etc.

Summary

The foundational question this book explores is: What happens when portraits are interpreted as imitations or likenesses not only of individuals but also of their acts of posingwhen the observer's attention is redirected so that the primary object the portrait imitates becomes the likeness not of a person but of an act, the act of sitting for one's portrait? This shift of attention involves another: from the painter's to the sitter's part in the act of (self-)portrayal. At the ground level, Fictions of the Pose develops a hypothesis about the structure and meaning of portraiture. That foundation supports a first story devoted to the practices and politics of early modern Italian and Dutch portraiture and a second story devoted to Rembrandt's self-portraits, especially those in which he poses in fancy dress as if he were a patron. The author approaches the Rembrandt/Renaissance relation not as an art historian but as an interpreter trained in literary studies, taunted by the challenge of extending the practice of "close reading" from verbal to visual media and fascinated by the way this practice can show how individual works "talk back" to their contexts. The context for Rembrandt, the object and target of his "looking-glass theater," is the structure of patron/painter relations that developed during the Renaissance and influenced the very different conditions of patronage that emerged in the Dutch Republic around the turn of the seventeenth century. The book is in four parts. Parts One and Two comprise an interpretive study of the technical and sociopolitical conditions within which portraiture becomes an important if problematic medium of self-representation in early modern Europe. The major portion of these two sections considers the structure and the consequences of a system of practices and conventions that governs poses in commissioned portraits. In Part Three the scene shifts from Italian to Dutch portraiture. Part Four is devoted to self-portraits by Rembrandt that are interpreted as responses to the conditions depicted in the first three parts. Through a series of close readings of individual works, the author demonstrates the ironic, polemical, and political force of Rembrandt's self-portraits.

Author Biography

Harry Berger, Jr., is Professor Emeritus of Literature and Art History at the University of California, Santa Cruz. He is the author, most recently, of Making Trifles of Terrors: Redistributing Complicities in Shakespeare (Stanford, 1997).

Table of Contents

Illustrations
xvii
Introduction 1(34)
PART ONE Early Modern Technologies and Politics of Representation and Their Consequences
Technologies: The System of Early Modern Painting
35(42)
Politics: The Apparatus of Commissioned Portraiture
77(18)
Consequences: Sprezzatura and the Anxiety of Self-Representation
95(12)
PART TWO Facing the Gaze
The Face as Index of the Mind: Art Historians and the Physiognomic Fallacy
107(12)
Physiognomy, Mimetic Idealism, and Social Change
119(18)
Elias on Physiognomic Skepticism: Homo Clausus and the Anxiety of Representation
137(18)
Lacan on the Narcissism of Orthopsychic Desire
155(16)
Fictions of the Pose (I): The Fiction of Objectivity
171(26)
Fictions of the Pose (2): Representing Orthopsychic Desire
197(36)
PART THREE The Embarrassment of Poses: On Dutch Portraiture
Local Matters
233(32)
The Posography of Embarrassment: Representational Strategies in a Decentralized Class Society
265(54)
Methodological Interlude I: Toward Group Portraiture
319(10)
Rembrandt's Embarrassment: An Anatomy of Group Portraiture
329(22)
PART FOUR Rembrandt's Looking-Glass Theater
Methodological Interlude II: On Self-Portraits
351(8)
Good Boys and Bad: Orthopsychic Comedy in the Early Self-Portraits
359(18)
Marking Time: Revisionary Allusion in Specular Fictions
377(6)
Rembrandt as Burgher: Waiting for Maerten Soolmans
383(6)
Methodological Interlude III: Texture Versus Facture
389(6)
Specular Fictions in Two Etchings
395(10)
Married, with Peacock: Saskia in Rembrandt's Looking-Glass Theater
405(22)
Methodological Interlude IV: On Revisionary Allusion---Rembrandt Against the Italian Renaissance
427(36)
Rembrandt as Courtier
463(12)
Rembrandt in Chains: The Medici Self-Portrait
475(4)
Rembrandt in Venice: The Patriarch
479(18)
(Ef)facing the Hand
497(8)
The Last Laugh; or, Something More
505(10)
Notes 515(96)
Index of Plates and Figures 611(4)
Subject Index 615(4)
Names Index 619

Rewards Program

Write a Review