Art Brophy Drew

During the fifteenth century, Florence emerged as one of Europe's most important city-states. This fresh and insightful book investigates the fascinating intersection of art, politics, and gender in the public sphere of Florence at this time. Adrian W. B. Randolph identifies a pivotal moment in the history of public art when Florentines visually encoded political and social relations within gendered categories. Randolph shows how "engaging" political symbols were grounded in a revolutionary way in amorous discourses that drew on metaphors of affection, desire, courtship, betrothal, marriage, homo- and hetero-eroticism, and procreation. This book emphasizes the sculpture of Donatello and the Medici family's efforts to seek legitimacy through artistic patronage. To characterize the political function of art, however, the book also encompasses a broad array of media -- including paintings by Botticelli, portrait medals, and especially engravings -- and tracks a number of important political developments. During the course of the fifteenth century, as tensions grew between Florence's explicit republicanism and a waxing politics of personal charisma, art was employed to alleviate the uneasiness, Randolph argues. First an oligarchical government and then three generations of Medici rulers, recognizing the importance of political appearances, carefully crafted images of themselves, their city, and the consensual relation they imagined existing between the two. Randolph casts new light on these artistic practices to arrive at a new and convincing view of the connections among politics, gender, and art in quattrocento Florence.

Andy Warhol (1928-1987), one of the most celebrated artists of the last third of the twentieth century, owes his unique place in the history of visual culture not to the mastery of a single medium but to the exercise of multiple media and roles. A legendary art world figure, he worked as an artist, filmmaker, photographer, collector, author, and designer. Beginning in the 1950s as a commercial artist, he went on to produce work for exhibition in galleries and museums. The range of his efforts soon expanded to the making of films, photography, video, and books. Warhol first came to public notice in the 1960s through works that drew on advertising, brand names, and newspaper stories and headlines. Many of his best-known images, both single and in series, were produced within the context of pop art. Warhol was a major figure in the bridging of the gap between high and low art, and his mode of production in the famous studio known as "The Factory" involved the recognition of art making as one form of enterprise among others. The radical nature of that enterprise has ensured the iconic status of his art and person."Andy Warhol contains illustrated essays by Benjamin H. D. Buchloh, Thomas Crow, Hal Foster, Rosalind Krauss, Annette Michelson, and Nan Rosenthal, plus a previously unpublished interview with Warhol by Buchloh. The essays address Warhol's relation to and effect on mass culture and the recurrence of disaster and death in his art.

Hasegawa Machiko Art Museum - From 1946 until 1974, Hasegawa Machiko drew the comic strip "Sazae-san," about an ordinary Japanese family led by a good-natured mother and wife, Sazae. The strip was a huge sucess and for most of its run appeared daily in the Asahi Shimbun.

Art for art's sake - "Art for art's sake" is the usual English rendition of a French slogan, 'l'art pour l'art', which is credited to ThÃ©ophile Gautier (1811â€“1872).

Live Art (art form) - The Live Art Development Agency in London descibes Live Art as follows:

artbrophydrew

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