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The artist, at least according to Honoré de Balzac, is at work when he seems to be at rest; his labor is not labor but repose. This observation provides a model for modern artists and their relationship to both their place of work-the studio-and what they do there. Examining the complex relationship between process, product, artistic identity, and the artist's studio-in all its various manifestations-the contributors to this volume consider the dichotomy between conceptual and material aspects of art production. The essays here also explore the studio as a form of inspiration, meaning, function, and medium, from the nineteenth century up to the present.

Artists --- anno 1800-1999 --- anno 2000-2009 --- Artists' studios. --- Artists' studios in art. --- Creation (Literary, artistic, etc.) --- Turner, J. M. W. --- Dean, Tacita, --- Creative ability in art --- Creative ability in literature --- Art --- Imagination --- Inspiration --- Literature --- Creative ability --- Originality --- Terner, Dzhozef Mallord Uilʹi︠a︡m, --- Tarner, Tzozeph Mallornt Ouilliam, --- Turner, Joseph Mallord William, --- Turner, William, --- Tŭrnŭr, Dzhouzef Mŭlord Uili︠a︡m, --- Tʻou-na, Yüeh-se-fu Ma-lo-te Wei-lien, --- Tʻou-na, --- טרנר, ג׳וזף מאלור ויליאם, --- Ateliers d'artiste --- Création (Arts) --- Art studios --- Artists' workshops --- Ateliers --- Studios, Artists' --- Workshops, Artists' --- Workshops

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The papers in this volume illustrate the way in which various types of technical evidence, derived from scientific examination and analysis, can contribute to the understanding of Renaissance workshop practices and the inter-relationships between different artists and artisans. These studies provide a vivid insight not only into the organization of craft and artistic endeavour in studios and workshops, but also into the everyday lives and concerns of those who ran and worked within them, showing that a great number of the challenges facing these artists and craftsmen are still relevant today. Originality and individuality were balanced against a sense and knowledge of what would sell, and the temptation to replicate the popular competed with the desire to innovate. Artists sought to make the best use of scarce, expensive materials and perhaps balanced the lower costs of those sourced or produced locally against the merits (in the guise of quality and exoticism) of more expensive imports. While the business of the studio is a common theme, another is intercommunication and the spread of ideas – between individuals, among studios and across national boundaries. The examination of materials and techniques has enabled some of these connections to be made, providing an insight into the transfer of concepts and practices as regional and traditional styles were influenced through contacts between cultures and generations.

Art, Renaissance --- Art --- Conservation and restoration --- ateliers [studios, organizations] --- workshops [organizations] --- Matériel d'artistes --- anno 1400-1499 --- anno 1500-1599 --- Renaissance --- Ateliers d'artiste --- Technique --- Conservation et restauration --- Ateliers d'artistes --- Matériel d'artistes. --- Artists' materials --- Artists' studios --- Art, Occidental --- Art, Primitive --- Art, Visual --- Art, Western (Western countries) --- Arts, Fine --- Arts, Visual --- Fine arts --- Iconography --- Occidental art --- Visual arts --- Western art (Western countries) --- Arts --- Aesthetics --- Art studios --- Artists' workshops --- Ateliers --- Studios, Artists' --- Workshops, Artists' --- Workshops --- Art material --- Art materials --- Art supplies --- Painters' materials --- Renaissance art --- Equipment and supplies --- Art, Renaissance - Congresses --- Art - Conservation and restoration - Congresses

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Het atelier van de 19de-eeuwse kunstenaar was een werkplaats, maar ook een ontmoetings- en marktplaats. Werkkamer en atelierpraktijk werden gebruikt om het imago van de kunstenaar vorm te geven en droegen bij aan de totstandkoming van het romantische beeld van de kunstenaar. In de 19de eeuw verandert de schilder van een eenvoudige handwerksman in een 'pictor doctus', een kunstenaar die met zijn hoofd werkt. De kunstenaar wordt steeds meer een genie en profileert zich ook als zodanig. Tegelijk kent de eeuw tal van technische ontwikkelingen. Voor de schilderkunst was misschien wel de belangrijkste de uitvinding van de verftube rond 1840. Daardoor werd het schilderen in de buitenlucht een stuk eenvoudiger. Mythen van het atelier is een toegankelijk, geïllustreerd boek over een belangrijk aspect van de 19de-eeuwse schilderpraktijk. Exhibition: Teyler Museum, Haarlem: Sept/Jan. 2010/11.

Artists and models in art --- Artists' studios in art --- Artists' studios --- Painting, Dutch --- 7.071 --- 75.02 --- 75.036 --- Beeldende kunstenaars ; beroep ; vak ; bedrijf --- Schilderateliers ; schilderpraktijk ; Nederland ; 19de eeuw --- Dutch painting --- Art studios --- Artists' workshops --- Ateliers --- Studios, Artists' --- Workshops, Artists' --- Workshops --- History --- Kunst ; kunstenaars en beroep --- Schilderkunst ; technieken --- Schilderkunst ; 19e eeuw --- Exhibitions --- Painting --- anno 1800-1899 --- Netherlands --- Ateliers d'artiste --- Ateliers d'artiste dans l'art --- Peinture néerlandaise --- Artists and models in art. --- Artists' studios. --- Artists' studios in art. --- Painting, Dutch. --- Histoire --- 1800-1899. --- Netherlands. --- atelier. --- vrouwelijke kunstenaars. --- schildertechnieken. --- architectuur. --- modellen. --- Wonder, Pieter Christoffel. --- 19de eeuw. --- Nederland.

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The evolution of studio and “post-studio” practice over the last half century. With the emergence of conceptual art in the mid-1960s, the traditional notion of the studio became at least partly obsolete. Other sites emerged for the generation of art, leading to the idea of “post-studio practice.” But the studio never went away; it was continually reinvented in response to new realities. This collection, expanding on current critical interest in issues of production and situation, looks at the evolution of studio and “post-studio” practice over the last half century. In recent decades many artists have turned their studios into offices from which they organize a multiplicity of operations and interactions. Others use the studio as a quasi-exhibition space, or work on a laptop computer mobile, flexible, and ready to follow the next commission. Among the topics surveyed here are the changing portrayal and experience of the artist's role since 1960; the diversity of current studio and post-studio practice; the critical strategies of artists who have used the studio situation as the subject or point of origin for their work; the insights to be gained from archival studio projects; and the expanded field of production that arises from responding to new conditions in the world outside the studio. The essays and artists' statements in this volume explore these questions with a focus on examining the studio's transition from a workshop for physical production to a space with potential for multiple forms of creation and participation.

art theory --- studios [work spaces] --- kunstbeschouwing --- hedendaagse kunst --- Contemporary [style of art] --- Art --- art [fine art] --- Nauman, Bruce --- Arceneaux, Edgar --- Höller, Carsten --- Venlet, Richard --- Orozco, Gabriel --- Goldstein, Jack --- Warhol, Andy --- Tillmans, Wolfgang --- Weiner, Lawrence --- McCarthy, Paul --- Smithson, Robert --- Bourgeois, Louise --- Hesse, Eva --- Bacon, Francis --- Wallace, Ian --- Irwin, Robert --- Acconci, Vito --- Woodman, Francesca --- Keita, Seydou --- Duchamp, Marcel --- Krasiński, Edward --- Schneemann, Carolee --- Murakami, Takashi --- Rosler, Martha --- Nelson, Mike --- Kippenberger, Martin --- Roth, Dieter --- Brancusi, Constantin --- Laboratoire Agit-Art [Dakar] --- Atelier Van Lieshout [Rotterdam] --- Art & Language --- anno 2000-2009 --- anno 1900-1999 --- Artists' studios --- Artists' studios. --- Laboratoire Agit'Art [Dakar] --- Iconographie --- Art contemporain --- Processus de création --- Création artistique --- Corps humain, thème --- Art studios --- Artists' workshops --- Ateliers --- Studios, Artists' --- Workshops, Artists' --- Workshops --- Kunst --- kunst --- kunsttheorie --- ateliers [werkruimten] --- art [discipline] --- Atelier d'artiste --- Art conceptuel --- Espace de travail --- Fonds d'archives --- Muséologie --- Exposition --- Scénographie

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Illumination of books and manuscripts, French --- Illumination of books and manuscripts, Gothic --- Artists' studios --- Enluminure française --- Enluminure gothique --- -Artists' studios --- -Illumination of books and manuscripts, Gothic --- -091 <44> --- 091.31 <44 PARIS> --- -Art studios --- Artists' workshops --- Ateliers --- Studios, Artists' --- Workshops, Artists' --- Workshops --- Gothic illumination of books and manuscripts --- French illumination of books and manuscripts --- Handschriftenkunde. Handschriftencatalogi--Frankrijk --- Verluchte handschriften--Frankrijk--PARIS --- 091 <44> --- -Handschriftenkunde. Handschriftencatalogi--Frankrijk --- 091.31 <44 PARIS> Verluchte handschriften--Frankrijk--PARIS --- 091 <44> Handschriftenkunde. Handschriftencatalogi--Frankrijk --- Enluminure française --- Art studios --- -Illumination of books and manuscripts, French --- Louis --- Louis IX --- France --- Illumination of books and manuscripts, French - France - Paris --- Artists' studios - - Paris - France --- -Illumination of books and manuscripts, Gothic - France - Paris