1985, ISBN: 0878173013

Painting of the High Renaissance in Rome and Florence. Text. von Freedberg, S. J.:Autor(en) Freedberg, S. J.:Auflage Newly revised editio… Mehr…

Painting of the High Renaissance in Rome and Florence. Text. von Freedberg, S. J.:Autor(en) Freedberg, S. J.:Auflage Newly revised edition.Verlag / Jahr New York: Hacker Art Books, 1985.Format / Einband Original cloth. X, 654 p.Sprache DeutschGewicht ca. 550 gISBN 0878173013EAN 9780878173013Bestell-Nr 1232707Bemerkungen A proistine copy. - The material in the text printed in double columns will be of interest primarily to the specialist reader. - From the introduction: The beginnings of the High Renaissance style in painting belong to Leonardo just as unequivocally as its time of fulfillment, in Central Italy, belongs to Raphael and Michelangelo. The first document for the High Renaissance style is Leonardo's, and from his own beginnings: the first fragmentary work in painting that is universally acknowledged to be his, the bead of an angel in the Baptism of Christ of Verrocchio (Florence, Uffizi; c. 1476) contains the essential idea on which the new style would build. This is not an image of transition between two styles except in a literally surface sense: in it an Early Renaissance preciosity of drawing and of finish coexist with its novelty of underlying form. To that novelty, however, there is no avenue of transition; there is no bridge between the style of this head by Leonardo and that of Verrocchio’s portions of the painting. No near-contemporary experiment prepares Leonardo’s image, nor is there any evolution toward it we can document in prior work of the young Leonardo himself. Its appearance is more sudden, and less resolvable into the context of art around it, than had been the emergence of the style of Masaccio fifty years before. As in Masaccio, the new identity of Leonardo’s image results not merely from the novelty of form that we perceive but from the fact that this form is the manifest projection of a new idea; and this idea depends upon a new conception of the nature of art, and of the role of art in the interpretation of nature and of man. ISBN 0878173013 Unser Preis EUR 83,00(inkl. MwSt.)Versandkostenfrei innerhalb DeutschlandsSelbstverständlich können Sie den Titel auch bei uns abholen. Unsere Bestände befinden sich in Berlin-Tiergarten. Bitte senden Sie uns eine kurze Nachricht!Aufgenommen mit whBOOKSicheres Bestellen - Order-Control geprüft!Artikel eingestellt mit dem w+h GmbH eBay-Service Daten und Bilder powered by Buchfreund (2024-03-05), Festpreisangebot, [LT: FixedPrice], EAN: 9780878173013, Genre: Gesellschaft & Politik, Thema: Kunst- & Architekturgeschichte, Sprache: Deutsch, New York: Hacker Art Books, 1985<

1985, ISBN: 0878173013

New York, Hacker Art Books, X, 654 p. Original cloth. A proistine copy. - The material in the text printed in double columns will be of interest primarily to the specialist reader. - From… Mehr…

New York, Hacker Art Books, X, 654 p. Original cloth. A proistine copy. - The material in the text printed in double columns will be of interest primarily to the specialist reader. - From the introduction: The beginnings of the High Renaissance style in painting belong to Leonardo just as unequivocally as its time of fulfillment, in Central Italy, belongs to Raphael and Michelangelo. The first document for the High Renaissance style is Leonardo's, and from his own beginnings: the first fragmentary work in painting that is universally acknowledged to be his, the bead of an angel in the Baptism of Christ of Verrocchio (Florence, Uffizi; c. 1476) contains the essential idea on which the new style would build. This is not an image of transition between two styles except in a literally surface sense: in it an Early Renaissance preciosity of drawing and of finish coexist with its novelty of underlying form. To that novelty, however, there is no avenue of transition; there is no bridge between the style of this head by Leonardo and that of Verrocchio?s portions of the painting. No near-contemporary experiment prepares Leonardo?s image, nor is there any evolution toward it we can document in prior work of the young Leonardo himself. Its appearance is more sudden, and less resolvable into the context of art around it, than had been the emergence of the style of Masaccio fifty years before. As in Masaccio, the new identity of Leonardo?s image results not merely from the novelty of form that we perceive but from the fact that this form is the manifest projection of a new idea; and this idea depends upon a new conception of the nature of art, and of the role of art in the interpretation of nature and of man. ISBN 0878173013Kunstgeschichte 1985<

1985, ISBN: 0878173013

[EAN: 9780878173013], [PU: Hacker Art Books], 1986. Decorated cloth. 4to. Two volume set (text & plates). 654 pp, xxxiii & 514 pp (700 plates). Mild shelf wear and scuffing to boards. Pag… Mehr…

[EAN: 9780878173013], [PU: Hacker Art Books], 1986. Decorated cloth. 4to. Two volume set (text & plates). 654 pp, xxxiii & 514 pp (700 plates). Mild shelf wear and scuffing to boards. Pages are clean and unmarked. Altogether a set in Very Good condition., Books<