TY  - BOOK
AU  - Shearman,John K.G.
TI  - Only Connect: Art and the Spectator in the Italian Renaissance 
T2  - Princeton Legacy Library
SN  - 9780691200774
U1  - 709/.45/09024 
PY  - 2019///]
CY  - Princeton, NJ : 
PB  - Princeton University Press, 
KW  - ART / History / Renaissance
KW  - bisacsh
KW  - Adolf von Hildebrand
KW  - Albrecht Dürer
KW  - Altarpiece
KW  - Andrea Fulvio
KW  - Andrea Mantegna
KW  - Andrea Solari
KW  - Andrea del Sarto
KW  - Antonello da Messina
KW  - Antonio Rossellino
KW  - Aretino
KW  - Bacchus and Ariadne
KW  - Baptistery
KW  - Baroque architecture
KW  - Basilica
KW  - Bembo
KW  - Camera degli Sposi
KW  - Caravaggio
KW  - Catullus
KW  - Cecilia Gallerani
KW  - Chiaroscuro
KW  - Christ among the Doctors (Dürer)
KW  - Conceit
KW  - Cosimo de' Medici
KW  - Counter-Reformation
KW  - Cristofano Allori
KW  - Della Rovere
KW  - Diego Velázquez
KW  - Donatello
KW  - Duke of Florence
KW  - Edward Burne-Jones
KW  - Epigram
KW  - Famulus
KW  - Feast of the Gods (art)
KW  - Filarete
KW  - Filippino Lippi
KW  - Galleria Borghese
KW  - Ginevra de' Benci
KW  - Giorgio Vasari
KW  - Giorgione
KW  - Giovanni Bellini
KW  - Giovanni Pisano
KW  - Giulio Romano
KW  - Grand manner
KW  - Hercules and Cacus
KW  - Heroides
KW  - High Renaissance
KW  - High place
KW  - Hyperbole
KW  - Intentionality
KW  - Jan van Eyck
KW  - Las Meninas
KW  - Lateran Baptistery
KW  - Lodovico Dolce
KW  - Madonna of the Harpies
KW  - Mario Equicola
KW  - Mario Praz
KW  - Marriage of the Virgin (Perugino)
KW  - Masaccio
KW  - Master of the Virgo inter Virgines
KW  - Michelangelo
KW  - Mona Lisa Smile
KW  - Mystery play
KW  - National Gallery of Art
KW  - Orlando Furioso
KW  - Paragone
KW  - Parmigianino
KW  - Persius
KW  - Pesaro Madonna
KW  - Petrarch
KW  - Phrenology
KW  - Pietro da Cortona
KW  - Poetry
KW  - Poliziano
KW  - Pontormo
KW  - Pope Julius II
KW  - Pseudo-Bonaventura
KW  - Putto
KW  - Reginald Pole
KW  - Religion
KW  - Renaissance art
KW  - Richard Wollheim
KW  - Rokeby Venus
KW  - Romanticism
KW  - Ruggiero (character)
KW  - Sack of Rome (1527)
KW  - Saint Roch
KW  - Sandro Botticelli
KW  - Simone Martini
KW  - Sistine Chapel
KW  - Sleeping Venus (Giorgione)
KW  - The Feast of the Gods
KW  - The Fire in the Borgo
KW  - The Philosopher
KW  - The School of Athens
KW  - The Spirit of the Laws
KW  - The Vision of the Cross
KW  - The Worship of Venus
KW  - Tintoretto
KW  - Titian
KW  - Work of art
N1  - Frontmatter --; CONTENTS --; LIST OF ILLUSTRATIONS --; INTRODUCTION --; I. A MORE ENGAGED SPECTATOR --; II. A SHARED SPACE --; III. PORTRAITS AND POETS --; IV. DOMES --; V. HISTORY, AND ENERGY --; VI. IMITATION, AND THE SLOW FUSE --; SOURCES OF ILLUSTRATIONS --; INDEX; restricted access
N2  - 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 are Mannerism (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, 1988Bollingen Series XXXV: 37Originally Publsihed in 1992The 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
UR  - https://doi.org/10.1515/9780691200774?locatt=mode:legacy
UR  - https://www.degruyter.com/isbn/9780691200774
UR  - https://www.degruyter.com/document/cover/isbn/9780691200774/original
ER  -