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2018 | 9 "Memory, Melancholy and Nostalgia" | 173-188
Article title

The (Playfully) Melancholic Still Life of Contemporary Painting

Authors
Content
Title variants
Conference
4th International Interdisciplinary Memory Conference “Memory, Melancholy and Nostalgia” (17-18 Semptember, 2015 in Gdansk)
Languages of publication
EN
Abstracts
EN
This paper considers the ways in which contemporary painting of still life accepts the address of its tradition. Tradition is considered here as cultural memory reiterated and transformed over time. The means by which contemporary artists work with, and against, tradition are explored through ideas of reverie, play and material process. Melancholy is a characteristic of the genre of still life, one that crosses time, and is thus given particular attention in relation to traditional and contemporary still life. Whilst Part I is an exploration of the themes and issues described above, Part II (case studies) is an attempt to exemplify them through the work of three contemporary British painters: Alan Salisbury, Emma Bennett and G.L. Brierley of whom it can be said that they paint playfully melancholic paintings of still life.
Contributors
  • Aberystwyth University (Wales, United Kingdom), School of Art
References
  • Aristotle. 2001. ‘On Memory and Reminiscence’. The Basic Works of Aristotle. McKeon, Richard ed. New York: Modern Library.
  • Bachelard Gaston. 2005. On Poetic Reverie and Imagination. Connecticut: Spring Publications.
  • Bachelard Gaston. 1988. Fragments of a Poetics of Fire. Dallas: Dallas Institute of Humanities and Culture.
  • Bracewell Michael. 2008. “Ged Quinn.” Online: https://frieze.com/article/ged-quinn. Accessed 30 October 2016.
  • Bryson Norman. 1991. Looking at the Overlooked. London: Reaktion.
  • Carter Rob and Carter Nick. 2012. MPC ‘Transforming Still Life Painting.’ Online: http://www.movingpicture.com/work/transforming-still-life-painting. Accessed 30 October 2016.
  • Elkins James. 1999. What Painting Is. New York and London: Routledge.
  • Gadamer Hans-Georg. 2006. Truth and Method. London: Continuum.
  • Grootenboer Hanneke. 2006. The Rhetoric of Perspective: Realism and Illusionism in Seventeenth-Century Dutch Still Life Painting. Chicago: University of Chicago Press.
  • Levi-Strauss Claude. 1983. ‘The Raw and the Cooked’. Mythologiques, Vol. 1, Chicago, University of Chicago Press, 1983.
  • Ricoeur Paul. 2004. Memory, History, Forgetting. Blamey Kathleen and Pellauer David. Chicago and London: University of Chicago Press.
  • Steiner Rochelle and Gingera Alison. 2011. “Glenn Brown: A Careful Concoction of ‘Push and Pull.’” Online: http://www.tate.org.uk/context-comment/articles/careful-concoction-push-and-pull. Accessed 20 October 2016.
  • Vroom N.R.A. 1999. A Modest Message as Intimated by the Painters of the Monochrome Banketje. Langehaven: Interbook International B.V.
  • Woodley Frances, ed. 2014. Still Life: All Coherence Gone?. Aberystwyth: Aberystwyth University.
  • Woodley Frances, ed. 2015a. Still Life: Ambiguous Practices. Aberystwyth: Aberystwyth University. Gadamer, Truth and Method (2006) 302.
  • Woodley Frances and Brierley G.L. 2015b. Conversation transcript.
Document Type
Publication order reference
YADDA identifier
bwmeta1.element.desklight-d26ba90d-6352-436f-a008-29b58b7b0b15
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