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In this highly original book Norman Bryson applied 'structuralist' and 'post-structuralist' approaches to French Romantic Painting.

In this, the only up-to-date critical work on still life painting in any language, Norman Bryson analyses the origins, history and logic of 'still life', one of the most enduring forms of Western pai

This 1982 book, now recognised as a classic, has done perhaps more than any other single work to change the face of art criticism in the twentieth century. Whereas previous books on French painting looked only at the history of painting as an evolution of artistic styles (baroque, rococo, neo-classical, and so on), Norman Bryson examines the evolution of narrative styles: the kinds of stories paintings tell, the ways they communicate their information, the different techniques of presenting the body as an instrument for incorporating textual messages. The procedure is applied to a number of painters: LeBrun, Watteau, Greuze, David and others, and the author demonstrates that the relation of formal and 'literary' elements was regarded by painters and critics in the eighteenth century as the primary issue to be confronted in the production of a painting.

First published in 2001. Routledge is an imprint of Taylor & Francis, an informa company.

Following the 2010 exhibition at Gagosian Gallery Beverly Hills, this magnificent set of slipcased books captures the grandness and lushness of the epic photographs of Andreas Gursky, one of the world

Beyond Piety examines several fundamental questions regarding the work of art and such aesthetic issues as pleasure, beauty and completeness, especially as it functions within the contexts of disconti

One of the leading figurative painters of his generation, Currin's influences range from Italian and Northern Renaissance paintings to popular illustrations from the mid-20th century. Whether portrait

Mark Dion (b.1961) is an American artist who, in making his art, metamorphoses into explorer, biochemist, detective and archaeologist. In his gallery installations around Europe and America since the

"We can no longer see, much less teach, transhistorical truths, timeless works of art, and unchanging critical criteria without a highly developed sense of irony about the grand narratives of the pas