by John Shearman
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by Professor Jill Dunkerton
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by Ellen Lupton
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by Michael Baxandall
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Painting in Spain, 1500-1700 (The Yale University Press Pelican History of Art) by Professor Jonathan Brown |
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Editorial Reviews
From Library Journal
That the mathematically founded naturalism of Renaissance art assumed the presence of an observer and thus allowed for the engaged participation of the spectator is not a new idea. Never before, however, has the multifaceted implications of this "transitive" complicity received such a thorough and insightful consideration. In a series of brilliant essays, Shearman explores methods through which the artists involved the viewer. Altarpieces and dome paintings are shown to exploit the potential of spatial continuity and the spectator's point of view to encourage a vivid psychological and spiritual engagement. Portraiture's well-established communicative intercourse emerges from a context of contemporary literary concerns. Perhaps most provocative is the examination of the artists' expectation that the implied viewer will participate in creating an aesthetic gestalt out of expressively selected elements and that he can be assumed to comprehend the allusive emulations that so often mark the era's art. A requisite addition to serious collections.
- Robert Cahn, Fashion Inst. of Technology, New York
Copyright 1992 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.
Review
[Shearman's] argument that the observer, in the artist's mind, was as carefully placed, posed and arranged as the content of the work is sustained by considerable intelligence and scholarship. --This text refers to an out of print or unavailable edition of this title.
See all Editorial Reviews
That the mathematically founded naturalism of Renaissance art assumed the presence of an observer and thus allowed for the engaged participation of the spectator is not a new idea. Never before, however, has the multifaceted implications of this "transitive" complicity received such a thorough and insightful consideration. In a series of brilliant essays, Shearman explores methods through which the artists involved the viewer. Altarpieces and dome paintings are shown to exploit the potential of spatial continuity and the spectator's point of view to encourage a vivid psychological and spiritual engagement. Portraiture's well-established communicative intercourse emerges from a context of contemporary literary concerns. Perhaps most provocative is the examination of the artists' expectation that the implied viewer will participate in creating an aesthetic gestalt out of expressively selected elements and that he can be assumed to comprehend the allusive emulations that so often mark the era's art. A requisite addition to serious collections.
- Robert Cahn, Fashion Inst. of Technology, New York
Copyright 1992 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.
Review
[Shearman's] argument that the observer, in the artist's mind, was as carefully placed, posed and arranged as the content of the work is sustained by considerable intelligence and scholarship. --This text refers to an out of print or unavailable edition of this title.
See all Editorial Reviews
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- Picturing Extraterrestrials: Alien Images in Modern Mass Culture by John F. Moffitt on 4 pages
- The Cultural World of Eleonora di Toledo: Duchess of Florence and Siena by Konrad Eisenbichler on 4 pages
- The Cambridge Companion to Raphael (Cambridge Companions to the History of Art) by Marcia B. Hall on 4 pages
- The Vatican to Vegas: The History of Special Effects by Norman M. Klein in Back Matter (1), Back Matter (2), and Back Matter (3)
- The Culture of the High Renaissance: Ancients and Moderns in Sixteenth-Century Rome by Ingrid D. Rowland in Back Matter (1), and Back Matter (2)
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