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Skin. --- Skin in art --- Tattooing --- Body painting --- Peau --- Tatouage. --- Peinture corporelle. --- Anthropologie. --- Dans l'art.

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Skin --- Skin in art --- Body, Human --- Folklore --- Psychological aspects --- Skin - Folklore --- Skin - Psychological aspects --- Body, Human - Fiction --- Peau --- Aspect psychologique

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Photography, Artistic --- Skin in art --- Photographie artistique --- Peau dans l'art --- Exhibitions --- Expositions --- Cadieux, Geneviève --- Exhibitions.

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Skin Crafts discusses multiple artists from global contexts who employ craft materials in works that address historical and contemporary violence. These artists are deliberately embracing the fragility of textiles and ceramics to evoke the vulnerability of human skin and - in so doing - are demanding visceral responses from viewers. Drawing on a range of theories including affect theory, material feminism, skin studies, phenomenology and global art history, the book illuminates the various ways in which artists are harnessing the affective power of craft materials to address and cope with violence Artists from Mexico, Africa, China, the Netherlands and Indigenous artists based in the unceded territory known as Canada are examined in relation to one another to illuminate the connections and differences across their bodies of work. Skin Crafts interrogates ongoing material violence towards women and marginalized others, and demonstrates the power of contemporary art to force viewers and scholars into facing their ethical responsibilities as human beings

Women artists --- Racism and the arts --- Feminism and art --- Human beings in art. --- Art, Modern --- Wounds and injuries in art --- Violence in art. --- Skin in art. --- Textile painting --- Installations (Art)

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'Fleshing out surfaces' is the first English-language book on skin and flesh tones in art. It considers flesh and skin in art theory, image making and medical discourse in seventeenth to nineteenth-century France. Describing a gradual shift between the early modern and the modern period, it argues that what artists made when imitating human nakedness was not always the same. Initially understood in terms of the body's substance, of flesh tones and body colour, it became increasingly a matter of skin, skin colour and surfaces. Each chapter is dedicated to a different notion of skin and its colour, from flesh tones via a membrane imbued with nervous energy to hermetic borderline. Looking in particular at works by Fragonard, David, Girodet, Benoist and Ingres, the focus is on portraits, as facial skin is a special arena for testing painterly skills and a site where the body and the image become equally expressive.--

Skin --- Skin in art. --- Human skin color in art. --- Art, French --- Anatomy, Artistic. --- Art, Modern --- French art --- Ecole de Nice (Group of artists) --- Forces nouvelles (Group of artists) --- Nabis (Group of artists) --- Ne pas plier (Group of artists) --- Artistic anatomy --- Human anatomy in art --- Art --- Nude in art --- Human figure in art --- Medicine and art --- Proportion (Art) --- Cutis --- Integument (Skin) --- Beauty, Personal --- Body covering (Anatomy) --- Psychological aspects. --- Themes, motives. --- Skin in art --- Human figure in art. --- Peau dans l'art --- Couleur de la peau dans l'art --- Corps humain dans l'art --- Anatomie artistique --- Art français --- Human medicine --- skin [animal component] --- anno 1600-1699 --- anno 1700-1799 --- anno 1800-1899 --- France --- art theory, France 1600-1900. --- artistic anatomy 1700-1900. --- colour. --- flesh tones. --- history of the body. --- materiality. --- medical History, 1600-1900. --- painterly practice. --- painting, France 1700-1850. --- skin colour. --- skin.