John Gage (1938–2012)
Autor(a) de Color and Culture: Practice and Meaning from Antiquity to Abstraction
About the Author
Image credit: John Gage (1938-2012)
Obras de John Gage
J. M. W. Turner [exposition], Galeries nationales du Grand Palais, Paris, 14 octobre 1983-16 janvier 1984 : à… (1983) 14 cópias
G. F. Watts A 19th Century Phenomenon 1 exemplar(es)
A Decade of English naturalism 1810-1820 1 exemplar(es)
Zwei Jahrhunderte englische Malerei : britische Kunst und Europa 1680 bis 1880 : [Ausstellung] Haus der Kunst… 1 exemplar(es)
Associated Works
Collected correspondence of J.M.W. Turner ; with an early diary and a memoir by George Jones (1980) — Editor, algumas edições — 6 cópias
Etiquetado
Conhecimento Comum
- Nome de batismo
- Gage, John Stephen
- Data de nascimento
- 1938-06-28
- Data de falecimento
- 2012-02-10
- Sexo
- male
- Nacionalidade
- UK (birth)
- Local de nascimento
- Bromley, Kent, UK
- Local de falecimento
- Cambridge, England, UK
- Locais de residência
- UK
Australia
Tuscany, Italy - Educação
- Oxford University (Queen's College|Modern History)
Courtauld Institute of Art (PhD|Art History|1967) - Ocupação
- art historian
museum curator
university professor - Organizações
- University of East Anglia, Norwich
Cambridge University - Premiações
- Fellow of the Royal Society of Arts (1975)
Fellow of the Briitish Academy (1995)
Turner Medal of the Colour Group of Great Britain (2009)
Fellow of Wolfson College (1978-1998)
Membros
Resenhas
Listas
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Associated Authors
Estatísticas
- Obras
- 23
- Also by
- 3
- Membros
- 655
- Popularidade
- #38,517
- Avaliação
- 4.0
- Resenhas
- 1
- ISBNs
- 48
- Idiomas
- 5
- Favorito
- 2
This is denser, with more theories of perception and language of color. There is some repetition of material, chapters appearing to be modified from lectures or previously published articles. It’s also jumpier, lacking a steady flow of exposition. This is probably meant to be a textbook for art majors, but I was able to mine good stuff as a layperson.
Early Christian mosaics used raked tiles for halos in order to catch the light and glow. These works were built particularly to be experienced by lamplight and with the observer in motion, contrary to the electric lights now used for display. He quotes an early patriarch, Photius (how apt!), concerning the impressions of spectators on entering his church: “It is as if one had entered heaven itself with no one barring the way from any side, and was illuminated by the beauty in all forms shining all around like so many stars, so one is utterly amazed. Thenceforth, it seems that everything is in ecstatic motion, and the church itself is circling round. For the spectator, through his whirling about in all directions and being constantly astir, which he is forced to experience by the variegated spectacle on all sides, imagines that his personal condition is transferred to the object.”… (mais)