A leading art historian's plea for a more engaged
reading of Italian Renaissance art Only Connect
constructs a history of Renaissance paintings and sculptures that
are by design completed outside ...themselves by the spectator, that
draw the spectator into their narrative plot or aesthetic
functioning, and that reposition the spectator imaginatively or in
time and space. John Shearman's concern is mostly with anterior
relationships with the viewer-that is, relationships conceived and
constructed as part of a work's design, making, and positioning. He
proposes unconventional ways in which works of art may be
distinguished from one another, and in which spectators may be
distinguished as well, and enlarges the accepted field of artistic
invention. Only Connect challenges us to recognize the
presuppositions of Renaissance artists about their viewers, shining
a light on the process of discovery by some of the most inventive
and intellectual artists of the period.
Gabriel del Sarto (1972) publica sus primeros poemas en 1998 en el Sesto quaderno di poesia contemporanea a manos de Franco Buffoni. Poco después su nombre empieza a ser frecuente en antologías ...dedicadas a los nuevos poetas emergentes italianos, como L’opera comune (Atelier, 1999), Poeti di Vent’anni (ed. Mario Santagostini, La Stampa, 2000) y Nuovissima poesia italiana (Mondadori, 2004), editada por Maurizio Cucchi y Antonio Ricciardi, en la que comparte espacio con algunos de los poetas más sobresalientes de su generación, como Silvia Caratti, Francesca Moccia o Alberto Pellegatta. En 2003 publica su primera colección de poemas con el título de I viali (Ed. Atelier), a la que sigue en 2011 el libro Sul vuoto (Transeuropa). Aparte de su faceta como poeta, Gabriel del Sarto es autor de diferentes ensayos sogre el uso y el sentido de la narración en la práctica formativa, como Raccontare storie (con F. Batini, Carocci, 2007) o el manual de escritura creativa Narrazione e invenzione (con S. Giusti y F. Batini, Erickson, 2007) La sigiente traducción es una selección de poemas de Gabriel del Sarto (1972), extraídos de los volúmenes I viali (2003) y Sul vuoto (2011).
A major reevaluation of Caravaggio from one of today's
leading art historians This is a groundbreaking
examination of one of the most important artists in the Western
tradition by one of the leading ...art historians and critics of the
past half-century. In his first extended consideration of the
Italian Baroque painter Michelangelo Merisi da Caravaggio
(1573-1610), Michael Fried offers a transformative account of the
artist's revolutionary achievement. Based on the A. W. Mellon
Lectures in the Fine Arts delivered at the National Gallery of Art,
The Moment of Caravaggio displays Fried's unique
combination of interpretive brilliance, historical seriousness, and
theoretical sophistication, providing sustained and unexpected
readings of a wide range of major works, from the early Boy Bitten
by a Lizard to the late Martyrdom of Saint Ursula . The
result is an electrifying new perspective on a crucial episode in
the history of European painting. Focusing on the emergence of the
full-blown "gallery picture" in Rome during the last decade of the
sixteenth century and the first decades of the seventeenth, Fried
draws forth an expansive argument, one that leads to a radically
revisionist account of Caravaggio's relation to the self-portrait;
of the role of extreme violence in his art, as epitomized by scenes
of decapitation; and of the deep structure of his epoch-defining
realism. Fried also gives considerable attention to the art of
Caravaggio's great rival, Annibale Carracci, as well as to the work
of Caravaggio's followers, including Orazio and Artemisia
Gentileschi, Bartolomeo Manfredi, and Valentin de Boulogne. Please
note: All images in this ebook are presented in black and white and
have been reduced in size.
Only Connect Shearman, John K.G
08/2019, Letnik:
5578
eBook
John Shearman makes the plea for a more engaged reading of art works of the Italian Renaissance, one that will recognize the presuppositions of Renaissance artists about their viewers. His book is ...the first attempt to construct a history of those Renaissance paintings and sculptures that are by design completed outside themselves in or by the spectator, that embrace the spectator into their narrative plot or aesthetic functioning, and that reposition the spectator imaginatively or in time and space. He takes the lead from texts and artists of the period, for these artists reveal themselves as spectators. Among modern historiographical techniques, Reception Theory is closest to the author's method, but Shearman's concern is mostly with anterior relationships with the viewer--that is, relationships conceived and constructed as part of the work's design, making, and positioning. Shearman proposes unconventional ways in which works of art may be distinguished one from another, and in which spectators may be distinguished, too, and enlarges the accepted field of artistic invention. Furthermore, His argument reflects on the Renaissance itself. What is created in this period tends to be regarded as conventional, or inherent in the nature of painting and sculpture: he maintains that this is a careless, disengaged view that has overlooked the process of discovery by immensely inventive and visually intelllectual artists. John Shearman is William Door Boardman Professor of Fine Arts at Harvard University. Among his works areMannerism (Hardmondsworth/Penguin), Raphael's Cartoons in the Collection of Her Majesty the Queen and the Tapestries for the Sistine Chapel (Phaidon), The Early Italian Paintings in teh Collection of Her Majesty the Queen (Cambridge). and Funzione e Illusione (il Saggiatore). The A.W. Mellon Lectures in the Fine Arts, 1988 Bollingen Series XXXV: 37
Originally Publsihed in 1992
The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
Niccolò Machiavelli Vivanti, Corrado; MacMichael, Simon
2021, 2013, 2021-08-10
eBook
A colorful, comprehensive, and authoritative account of Machiavelli's life and thought This is a colorful, comprehensive, and authoritative introduction to the life and work of the Florentine ...statesman, writer, and political philosopher Niccolò Machiavelli (1469–1527). Corrado Vivanti, who was one of the world's leading Machiavelli scholars, provides an unparalleled intellectual biography that demonstrates the close connections between Machiavelli's thought and his changing fortunes during the tumultuous Florentine republic and his subsequent exile. Vivanti's concise account covers not only Machiavelli's most famous works— The Prince, The Discourses, The Florentine Histories, and The Art of War —but also his letters, poetry, and comic dramas. While setting Machiavelli's life against a dramatic backdrop of war, crisis, and diplomatic intrigue, the book also paints a vivid human portrait of the man.
The theory and practice of art underwent a number of fascinating changes between the sixteenth and the eighteenth centuries, changes which are clearly revealed in this unique collection of letters, ...journals, essays, and other writings by the artists and their contemporaries. In the poems of Michelangelo, the Dialogues of Carducho, or the Discourses of Sir Joshua Reynolds, one discovers the stylistic and philosophical concerns of the artist, while the record of Veronese's trial before the Holy Tribunal, the diary of Bernini's journey in France, the letters of Rubens and Poussin or biographical sketches of Rembrandt and Watteau reveal not only the personalities but also the conditions of the times.These basic and illuminating documents, now again available in paperback, provide an unparalleled opportunity for insight into the art and ideas of the periods the author discusses.
Touch, as a sense of proximity, is very important in emotional and intellectual communication. Is it possible to insert it in literature? By analysing lexical-semantic networks of terms related to ...the sense of touch in two nineteenth-century literary works—a play by Musset and a tale by Proust—this paper aims to explain the preeminent narrative role that these two young authors accord the sense of touch.
THE COVER Cole, Thomas B
JAMA : the journal of the American Medical Association,
08/2010, Letnik:
304, Številka:
8
Journal Article
Recenzirano
Cole features Andrea d'Agnolo di Francesco di Paolo del Migliore's painting, Study of Hands. D'Agnolo made patches of shade on hands and forearms with cross-hatchings, suggesting curves and contours ...with heavier, darker lines as they passed over areas shaded from the light source and fainter, thinner lines over areas with indirect lighting. In areas of direct light, he erased the cross-hatchings to create highlights. Bright, direct light flattens or obscures contours, as on the dorsal surface of the hand on the right side of the image on the cover. Artists use direct lighting to hide anatomical features and shading to reveal them. The highlights suggest that each hand was lit from a different source. To avoid paying a model, he may have drawn his own hands in changing light with the aid of a mirror.
Since Giorgio Vasari first published his Vita of Andrea del Sarto in 1550, it has has been clear that late in his career the artist painted two works contemporaries saw as closely related, The Holy ...Family with the Young Saint John the Baptist and Charity. The former, painted for the Florentine Giovanni Borgherini and commonly referred to as the Borgherini Holy Family, later descended through the Rinuccini and Corsini families in Florence. Charles Fairfax Murray purchased it in 1905, and the panel was sold to the Metropolitan Museum of Art in 1922. It is among the artist's most admired, studied, and copied compositions.
PDF
