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Pictures and Tears: A History of People Who Have Cried in Front of Paintings, by James Elkins
Download PDF Pictures and Tears: A History of People Who Have Cried in Front of Paintings, by James Elkins
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Art Does art leave you cold? And is that what it's supposed to do? Or is a painting meant to move you to tears? Hemingway was reduced to tears in the midst of a drinking bout when a painting by James Thurber caught his eye. And what's bad about that? In Pictures and Tears, art historian James Elkins tells the story of paintings that have made people cry. Drawing upon anecdotes related to individual works of art, he provides a chronicle of how people have shown emotion before works of art in the past, and a meditation on the curious tearlessness with which most people approach art in the present. Deeply personal, Pictures and Tears is a history of emotion and vulnerability, and an inquiry into the nature of art. This book is a rare and invaluable treasure for people who love art. Also includes an 8-page color insert.
- Sales Rank: #740362 in Books
- Published on: 2004-02-25
- Released on: 2004-03-18
- Original language: English
- Number of items: 1
- Dimensions: 8.50" h x .67" w x 5.43" l, .67 pounds
- Binding: Paperback
- 296 pages
- ISBN13: 9780415970532
- Notes: 100% Satisfaction Guarantee. Tracking provided on most orders. Buy with Confidence! Millions of books sold!
From Library Journal
A much different exploration of the meaning of painting is found in Elkins's Pictures and Tears. Elkins (Sch. of the Art Inst. of Chicago; What Painting Is) asks why some people cry in front of paintings. Using both historical sources and solicited examples, he spins out various generally unconvincing hypotheses. Admitting that he himself has never cried in front of a painting, Elkins fails to get to the heart of the matter. Noting that other forms of expression (theater, music, novels, film) are more likely to elicit tears, Elkins attempts to explain their absence in our own time as a peculiarity of the 20th century. The examples of contemporary tears that Elkins resents are largely self-selected (solicited through ads in various publications) and neither prove nor disprove his theories. A rambling and often obtuse style makes this already rather intangible topic even more slippery. Art Matters is recommended for academic and public libraries with a demand for art theory; Pictures and Tears is not recommended. Martin R. Kalfatovic, Smithsonian Inst. Libs., Washington, DC
Copyright 2001 Reed Business Information, Inc.
From Booklist
Why are some people moved to tears by paintings while others, including most art historians, remain dry-eyed? Elkins has been conducting a provocative and felicitous inquiry into how and what we see in a string of outstanding books, including How to Use Your Eyes [BKL N 1 00], and in preparation for his latest foray, he invited people who have cried in front of paintings to share their experiences. The 400 letters he received form the foundation for an enlightening analysis of the qualities in paintings that arouse the ultimate emotional response, but the most arresting facet of his unique investigation is his charting of the declining value society places on heartfelt reactions to art. Fluent in a great range of works, from Rothko's abstract canvases to a painting he loved as a boy, Bellini's Ecstasy of St. Francis, Elkins elucidates subtle concepts of pictorial time, presence, and absence; criticizes the bloodlessness of most art-history texts; and indicts the marketplace atmosphere of most museums. Prized by the Romantics in the not-so-distant past, art-inspired tears are disdained in our brittle, ironic milieu, a psychological and spiritual diminishment Elkins boldly and rightly decries. Donna Seaman
Copyright © American Library Association. All rights reserved
Review
..."a provocative and felicitous inquiry... the most arresting facet of his unique investigation is his charting of the declining value society places on heartfelt reactions to art... Elkins elucidates subtle conceptions of pictoral time, presence, and absence; criticizes the bloodlessness of most art-history texts; and indicts the marketplace atmosphere of most museums. Prized by Romantics in the not-so-distant past, art-inspired tears are disdained in our brittle, ironic milieu, a psychological and spiritual diminishment Elkins boldly and rightly decries."
-Donna Seaman, "Booklist
"To cry in front of art is not a sign of weakness: it is the flexing of a truly aesthetic power. That is the truth we gain from James Elkins' admirably engaged and engaging book."
-Nigel Spivey, author of "Enduring Creation
"A history of weeping, a meditation on our deepest responses to art, and an ethnography of his own tribe of art historians, "Pictures and Tearsattempts to reclaim aesthetic experience from what Elkins calls 'the poison well' of art history and theory. I wish I could have read this book before I had written my own."
-Tom Lutz, author of "Crying: The Natural and Cultural History of Tears
"Certainly an interesting read for museum educators, art history students, and art teachers who are committed to teaching about responding to art."
-"ScholarArts, October 2004
Most helpful customer reviews
24 of 25 people found the following review helpful.
A compassionate validation of the individual spirit
By Grady Harp
Jame Elkins has written a book that should be in the librairies of schools, art historians, incipient and experienced art lovers. In a winning conversational style of writing Elkins makes the case for subjective response to paintings, both past and present. And in doing so he gives a brief course in at history (he is an art historian, actively teaching) that is less a chronological evaluation of politics and sociology and techniques of painting than it is a survey of how people have responded to paintings through time. His precis: we are in this century prevented from "experiencing" paintings, so immersed are we in swallowing the opinions of scholars and critics and our own spiritual aridity. He examines why certain people are able to cry in their encounter with paintings, others are moved to physiologic reactions, while others speedily walk past image after image in their need to huury past another obligatory check point in claiming cultural awareness. In many ways this is a sad treatise on the fact that we have arrived at a time when we don't embrace our vulnerability, don't admit that something so apparently inanimate as an old master painting - if given the quantity and quality of time to absorb it - can touch inner secret caves and cause us to light up our souls and our existence by responding with unfettered eyes and heart.
Elkins investigates the various responses (including his own) to the Rothko Chapel, to Giotto, to Renaissance paintings, to the Romantics, to Friedrich, and to Picasso's "Guernica". These are in the form of summation of letters written to him in response to his question "Have you ever cried at paintings?" sent to previous students, art historians, and friends. His findings show that art historians in general have encouraged us to examine paintings as examples of technique, of historical settings, of schools of thought in the past: such academic dissection has replaced the individual response to the visual image. And fortunately for us the author concludes that the visceral response to paintings is more important than the cell of academic cold shelter.
For those of us who have committed our lives to bridging the gap between the painter and the public, encouraging everyone to go to the museums, galleries, schools, and churches to experience the indefinable majesty of emotional response to art, this little book is a godsend. Buy it, read it slowly, break down your own barriers, open your mind, and you will find validation of your inner artist. This is a "beautiful presence" of an artistic expression and we are indebted to Elkins for his courage in writing it.
0 of 2 people found the following review helpful.
Five Stars
By Lynn M. Holley
One of the best books on paintings and our reaction to them with tears and emotion.
8 of 12 people found the following review helpful.
AFFECTING AND AFFECTIONATE BOOK
By Timothy C. Wingate
This book is beautifully illustrated with paintings by Caravaggio, Greuze, Bellini (Giovanni), Bouts, and Friedrich along with a picture of a chapel designed by Mark Rothko.
As the blurb states, it is a "strange and wonderful investigation into paintings and the emotions they conjure."
The book is eloquently written by the author James Elkins who is a professor at the School of the Art Institute of Chicago and has also authored "How To Use Your Eyes" and "What Painting Is".
This is a highly affecting book and will give hours of pleasure to those discerning readers who have the privilege to read the author's opus.
Timothy Wingate from OTTAWA CANADA
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