The Painter Depicted: Painters As A Subject In Painting
Condition: SECONDHAND
This is a secondhand book. The jacket image is a photograph of the exact copy we have in stock. This image shows the condition of this book. Further condition remarks are below.
Condition remarks:
Book: Good
Jacket: Worn/faded, no tears
Pages: Good
Markings: No markings
A richly scholarly work of art history, The Painter Depicted: Painters As A Subject In Painting by Michael Levey examines the fascinating tradition of artists representing their own profession on canvas, tracing how painters across centuries have portrayed themselves and their peers at work. Levey argues that these images are far more than mere documentation, presenting them as complex statements about artistic identity, social status, and the nature of creativity itself. With the authoritative yet accessible tone characteristic of Levey's writing, the text chronicles the evolution of this self-referential genre from the Renaissance through the modern era, drawing on a wide range of European masterworks. Each chapter illuminates how the act of depicting a painter at the easel became a vehicle for broader philosophical and cultural commentary, revealing the shifting ways in which artists understood their own role in society. This is an indispensable read for anyone with a serious interest in the history and theory of Western art.
Author: Michael Levey
Format: Hardback
Published: 1981, Thames and Hudson
Genre: History of arts
Condition remarks:
Book: Good
Jacket: Worn/faded, no tears
Pages: Good
Markings: No markings
A richly scholarly work of art history, The Painter Depicted: Painters As A Subject In Painting by Michael Levey examines the fascinating tradition of artists representing their own profession on canvas, tracing how painters across centuries have portrayed themselves and their peers at work. Levey argues that these images are far more than mere documentation, presenting them as complex statements about artistic identity, social status, and the nature of creativity itself. With the authoritative yet accessible tone characteristic of Levey's writing, the text chronicles the evolution of this self-referential genre from the Renaissance through the modern era, drawing on a wide range of European masterworks. Each chapter illuminates how the act of depicting a painter at the easel became a vehicle for broader philosophical and cultural commentary, revealing the shifting ways in which artists understood their own role in society. This is an indispensable read for anyone with a serious interest in the history and theory of Western art.