Brushstroke And Emergence: Courbet, Impressionism, Picasso by James D. HerbertBrushstroke And Emergence: Courbet, Impressionism, Picasso by James D. Herbert

Brushstroke And Emergence: Courbet, Impressionism, Picasso

byJames D. Herbert

Hardcover | November 16, 2015

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No pictorial device in nineteenth-century French painting more clearly represented the free-ranging self than the loose brushstroke. From the romantics through the impressionists and post-impressionists, the brushstroke bespoke autonomous artistic individuality and freedom from convention.

Yet the question of how much we can credit to the individual brushstroke is complicated—and in Brushstroke and Emergence, James D. Herbert uses that question as a starting point for an extended essay that draws on philosophy of mind, the science of emergence, and art history. Brushstrokes, he reminds us, are as much creatures of habit and embodied experience as they are of intent. When they gather in great numbers they take on a life of their own, out of which emerge complexity and meaning. Analyzing ten paintings by Courbet, Manet, Cézanne, Monet, Seurat, and Picasso, Herbert exposes vital relationships between intention and habit, the singular and the complex. In doing so, he uncovers a space worthy of historical and aesthetic analysis between the brushstroke and the self.
James D. Herbert is professor of art history and cofounder of the PhD program in visual studies at the University of California, Irvine. 
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Title:Brushstroke And Emergence: Courbet, Impressionism, PicassoFormat:HardcoverDimensions:176 pages, 9 × 7 × 0.8 inPublished:November 16, 2015Publisher:University Of Chicago PressLanguage:English

The following ISBNs are associated with this title:

ISBN - 10:022627201X

ISBN - 13:9780226272016

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Customer Reviews of Brushstroke And Emergence: Courbet, Impressionism, Picasso

Reviews

Table of Contents

List of Illustrations
Preface
Brushstroke and Emergence
Notes
Index of Principal Discussions of Featured Paintings

Editorial Reviews

“This is a succinct and elegant study that asks us to rethink what we assume we already know—the semiotics of the brushstroke. Focusing on a few key modernists, Herbert gives us a fresh view of how matter comes to have its own meanings, and how we often overdetermine the most basic relations of maker and mark. For anyone who assumes they already know how to look at a painted canvas, this is essential reading.”