SALTZMAN/OLD MASTERS; NEW WORLD

The encounter - sometimes conflict - between traditional Renaissance studies and poststructuralism occasions this book. In it, the author analyzes "old masteries," certain notions of freedom, individualism, and control long associated with the Renaissance, in relation to the ideologies of non-mastery that recur in theory today. This book has a dual purpose. First, it recontextualizes the debates on freedom and determinism presented by five "masters" - Petrarch, Luther, Loyola, Teresa of Avila, and Galileo - by showing that their paradigmatic discourses on will share a distinct rhetorical strategy. Second, it argues that the dominant critical paradigms of the late twentieth century, while ostensibly rejecting and transcending early modern ideas of subjecthood, actually recast Renaissance debates on freedom and power. In many ways, the early modern functions as the unconscious of critical theory.

In this exuberantly satirical novel, the tutor Atzbacher has been summoned by his friend Reger to meet him in a Viennese museum. While Reger gazes at a Tintoretto portrait, Atzbacher—who fears Reger's plans to kill himself—gives us a portrait of the musicologist: his wisdom, his devotion to his wife, and his love-hate relationship with art. With characteristically acerbic wit, Bernhard exposes the pretensions and aspirations of humanity in a novel at once pessimistic and strangely exhilarating. "Bernhard's . . . most enjoyable novel."—Robert Craft, New York Review of Books. "Bernhard is one of the masters of contemporary European fiction."—George Steiner

When in their lives do great artists produce their greatest art? Do they strive for creative perfection throughout decades of painstaking and frustrating experimentation, or do they achieve it confidently and decisively, through meticulous planning that yields masterpieces early in their lives? By examining the careers not only of great painters but also of important sculptors, poets, novelists, and movie directors, Old Masters and Young Geniuses offers a profound new understanding of artistic creativity. Using a wide range of evidence, David Galenson demonstrates that there are two fundamentally different approaches to innovation, and that each is associated with a distinct pattern of discovery over a lifetime. Experimental innovators work by trial and error, and arrive at their major contributions gradually, late in life. In contrast, conceptual innovators make sudden breakthroughs by formulating new ideas, usually at an early age. Galenson shows why such artists as Michelangelo, Rembrandt, Cézanne, Jackson Pollock, Virginia Woolf, Robert Frost, and Alfred Hitchcock were experimental old masters, and why Vermeer, van Gogh, Picasso, Herman Melville, James Joyce, Sylvia Plath, and Orson Welles were conceptual young geniuses. He also explains how this changes our understanding of art and its past. Experimental innovators seek, and conceptual innovators find. By illuminating the differences between them, this pioneering book provides vivid new insights into the mysterious processes of human creativity.

"Donatello, Titian, Hals, Turner, Renoir and Munch, and a surprisingly large number of other major artists, lived to be over seventy-five. Some of their finest and most distinctive works, including Michelangelo's last Pieta, Goya's Black Paintings and Monet's Water Lilies, were done in old age. Whether experimenting with new approaches, adopting new techniques, responding to changed circumstances and debilities, or reacting to the approach of death, the intensity of the late work of many of the greatest artists is striking. Childhood genius has often been studied but, astonishingly, this is the first book to draw attention to a considerably more important artistic phenomenon. Old Masters establishes beyond doubt the frequency with which elderly painters and sculptors reached new heights in their seventies and eighties and suggest why and how they did so."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved

Explains how to make realistic drawings of the arms, legs, feet, hands, and other parts of the human body

Masterpieces of drawing from the great schools and traditions of Italy and northern Europe, spanning four centuries from Filippino Lippi, Andrea del Sarto, and Titian to Rembrandt, Van Dyck, and Ingres. 47 plates.