![]() ![]() ![]() Those “inbox interactions” most surely stemmed from a well-documented mixup in 2019, when news of Bailey’s casting as the underwater Disney princess Ariel caused widespread confusion online – where many internet and social media users mistook Halle Bailey for Halle Berry. “She’s been always really supportive to me over social media, so we’ve had a few inbox interactions, but that was my first time meeting her. I was like, ‘Oh my gosh, I love you!’ ” Bailey exclaimed to the cohosts. On Thursday’s episode of “ Live with Kelly and Mark,” Bailey – who stars as Ariel in the new live-action “ Little Mermaid” – discussed the moment she met Halle Berry at this year’s Oscars ceremony. Most critically, the visual apparatus of digital publication supports this essay’s emphasis on the importance of contingent looking within particular lighting circumstances, a feature rarely considered in art-historical studies.Halle Bailey might be one of the biggest up-and-coming stars, but even she gets starstruck when it comes to a certain other Halle. Publication at full length also enables it to combine typically disparate methodologies and sub-fields: historiography, methodological reflection, technical analysis, and close looking at artworks in different media, from luxury objects and sculpture to panel painting. Digital publication on the University of York’s History of Art Research Portal enables this essay to be presented at its full length, incorporating far more material-especially a greater number of detailed illustrations-than is possible in traditional printed journals. The research for this project developed over many years and eventually coalesced into a size and shape in between a typical book and a typical journal article. Where a number of recent studies have perceived temporal instability within the content of medieval and Renaissance images, this essay proposes that historiographical assessment should take into account the specific material and conceptual qualities of different artistic media, and weigh the relative importance of their perceived references forwards and back in time. The rise of early Netherlandish painting thus sheds important light on the role of periodization within art-historical interpretation. In establishing its independence from other contemporary art forms, and in promoting the intrinsic value of representation, early Netherlandish panel painting presaged the high status of painting in the ensuing centuries of the western canon, even though, in other respects, these works remained firmly rooted in earlier tradition. In addition, these paintings display a particularly intensive visual dialogue with contemporary sculpture and brocaded textiles, as a means of exploring painting’s superior capacity to depict persuasive surfaces in spatial depth. From the 1420s-30s onwards, Netherlandish panel paintings rejected gold-leaf backgrounds, and they also increasingly either relegated gilding to small details such as halos and heavenly rays, or incorporated it into pictorial representation. This essay analyses the shifts in gilding practices that accompanied the introduction of the fifteenth-century ars nova, arguing that the new panel painting marked a self-conscious departure from the luxury arts by asserting its value through representation alone, rather than through material worth. ![]() In recent decades, the historical significance of the panel paintings by Jan van Eyck, Rogier van der Weyden, and the Flémalle group has been subject to debate. ![]()
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