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The Art-Historical Photograph as Fiction: The Pretense of Objectivity
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Chapters in this book
- Frontmatter i
- Contents v
- Introduction: Compelling Fictions vii
-
Part One: Entanglements
- Weightless History: Faulkner, Bourke-White, and Eisenstaedt 3
- A Novelist among Artists: Gordon Burn and “Young British Art” 21
- Philip Marlowe Meets the Art Historian 34
- The Case of the Errant Art Historian 45
-
Part Two: Not Who You Think I Am
- Face to Face with Fiction: Portraiture and the Biographical Tradition 71
- “I Am Not Who You Think I Am”: Attributing the Humanist Portrait, Identifying the Art-Historical Subject 87
- Fictional Deceptions: A True Story 104
- The Art-Historical Photograph as Fiction: The Pretense of Objectivity 118
-
Part Three: Artists, Stories, Objects
- “The Reality Bodily before Us”: Picturing the Arabian Nights 141
- The Ekphrastic O 162
- Anecdotes and the Life of Art History 173
- The Text is Present 187
- Contributors 203
- Photography Credits 207
Chapters in this book
- Frontmatter i
- Contents v
- Introduction: Compelling Fictions vii
-
Part One: Entanglements
- Weightless History: Faulkner, Bourke-White, and Eisenstaedt 3
- A Novelist among Artists: Gordon Burn and “Young British Art” 21
- Philip Marlowe Meets the Art Historian 34
- The Case of the Errant Art Historian 45
-
Part Two: Not Who You Think I Am
- Face to Face with Fiction: Portraiture and the Biographical Tradition 71
- “I Am Not Who You Think I Am”: Attributing the Humanist Portrait, Identifying the Art-Historical Subject 87
- Fictional Deceptions: A True Story 104
- The Art-Historical Photograph as Fiction: The Pretense of Objectivity 118
-
Part Three: Artists, Stories, Objects
- “The Reality Bodily before Us”: Picturing the Arabian Nights 141
- The Ekphrastic O 162
- Anecdotes and the Life of Art History 173
- The Text is Present 187
- Contributors 203
- Photography Credits 207