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| 001 | 194731 | ||
| 003 | IT-RoAPU | ||
| 005 | 20240316185231.0 | ||
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| 007 | cr || |||||||| | ||
| 008 | 240307t20191992nju fo d z eng d | ||
| 020 |
_a9780691200774 _qPDF |
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| 024 | 7 |
_a10.1515/9780691200774 _2doi |
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| 035 | _a(DE-B1597)9780691200774 | ||
| 035 | _a(DE-B1597)535165 | ||
| 035 | _a(OCoLC)1121057054 | ||
| 040 |
_aDE-B1597 _beng _cDE-B1597 _erda |
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| 072 | 7 |
_aART015080 _2bisacsh |
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| 082 | 0 | 4 | _a709/.45/09024 |
| 084 | _aonline - DeGruyter | ||
| 100 | 1 |
_aShearman, John K.G. _eautore |
|
| 245 | 1 | 0 |
_aOnly Connect : _bArt and the Spectator in the Italian Renaissance / _cJohn K.G. Shearman. |
| 264 | 1 |
_aPrinceton, NJ : _bPrinceton University Press, _c[2019] |
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| 264 | 4 | _c©1992 | |
| 300 |
_a1 online resource (286 p.) : _b26 color plates. 205 b/w illus. |
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| 336 |
_atext _btxt _2rdacontent |
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| 337 |
_acomputer _bc _2rdamedia |
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| 338 |
_aonline resource _bcr _2rdacarrier |
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| 347 |
_atext file _bPDF _2rda |
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| 490 | 0 |
_aPrinceton Legacy Library ; _v35 |
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| 505 | 0 | 0 |
_tFrontmatter -- _tCONTENTS -- _tLIST OF ILLUSTRATIONS -- _tINTRODUCTION -- _tI. A MORE ENGAGED SPECTATOR -- _tII. A SHARED SPACE -- _tIII. PORTRAITS AND POETS -- _tIV. DOMES -- _tV. HISTORY, AND ENERGY -- _tVI. IMITATION, AND THE SLOW FUSE -- _tSOURCES OF ILLUSTRATIONS -- _tINDEX |
| 506 | 0 |
_arestricted access _uhttp://purl.org/coar/access_right/c_16ec _fonline access with authorization _2star |
|
| 520 | _aJohn 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. | ||
| 538 | _aMode of access: Internet via World Wide Web. | ||
| 546 | _aIn English. | ||
| 588 | 0 | _aDescription based on online resource; title from PDF title page (publisher's Web site, viewed 07. Mrz 2024) | |
| 650 | 7 |
_aART / History / Renaissance. _2bisacsh |
|
| 653 | _aAdolf von Hildebrand. | ||
| 653 | _aAlbrecht Dürer. | ||
| 653 | _aAltarpiece. | ||
| 653 | _aAndrea Fulvio. | ||
| 653 | _aAndrea Mantegna. | ||
| 653 | _aAndrea Solari. | ||
| 653 | _aAndrea del Sarto. | ||
| 653 | _aAntonello da Messina. | ||
| 653 | _aAntonio Rossellino. | ||
| 653 | _aAretino. | ||
| 653 | _aBacchus and Ariadne. | ||
| 653 | _aBaptistery. | ||
| 653 | _aBaroque architecture. | ||
| 653 | _aBasilica. | ||
| 653 | _aBembo. | ||
| 653 | _aCamera degli Sposi. | ||
| 653 | _aCaravaggio. | ||
| 653 | _aCatullus. | ||
| 653 | _aCecilia Gallerani. | ||
| 653 | _aChiaroscuro. | ||
| 653 | _aChrist among the Doctors (Dürer). | ||
| 653 | _aConceit. | ||
| 653 | _aCosimo de' Medici. | ||
| 653 | _aCounter-Reformation. | ||
| 653 | _aCristofano Allori. | ||
| 653 | _aDella Rovere. | ||
| 653 | _aDiego Velázquez. | ||
| 653 | _aDonatello. | ||
| 653 | _aDuke of Florence. | ||
| 653 | _aEdward Burne-Jones. | ||
| 653 | _aEpigram. | ||
| 653 | _aFamulus. | ||
| 653 | _aFeast of the Gods (art). | ||
| 653 | _aFilarete. | ||
| 653 | _aFilippino Lippi. | ||
| 653 | _aGalleria Borghese. | ||
| 653 | _aGinevra de' Benci. | ||
| 653 | _aGiorgio Vasari. | ||
| 653 | _aGiorgione. | ||
| 653 | _aGiovanni Bellini. | ||
| 653 | _aGiovanni Pisano. | ||
| 653 | _aGiulio Romano. | ||
| 653 | _aGrand manner. | ||
| 653 | _aHercules and Cacus. | ||
| 653 | _aHeroides. | ||
| 653 | _aHigh Renaissance. | ||
| 653 | _aHigh place. | ||
| 653 | _aHyperbole. | ||
| 653 | _aIntentionality. | ||
| 653 | _aJan van Eyck. | ||
| 653 | _aLas Meninas. | ||
| 653 | _aLateran Baptistery. | ||
| 653 | _aLodovico Dolce. | ||
| 653 | _aMadonna of the Harpies. | ||
| 653 | _aMario Equicola. | ||
| 653 | _aMario Praz. | ||
| 653 | _aMarriage of the Virgin (Perugino). | ||
| 653 | _aMasaccio. | ||
| 653 | _aMaster of the Virgo inter Virgines. | ||
| 653 | _aMichelangelo. | ||
| 653 | _aMona Lisa Smile. | ||
| 653 | _aMystery play. | ||
| 653 | _aNational Gallery of Art. | ||
| 653 | _aOrlando Furioso. | ||
| 653 | _aParagone. | ||
| 653 | _aParmigianino. | ||
| 653 | _aPersius. | ||
| 653 | _aPesaro Madonna. | ||
| 653 | _aPetrarch. | ||
| 653 | _aPhrenology. | ||
| 653 | _aPietro da Cortona. | ||
| 653 | _aPoetry. | ||
| 653 | _aPoliziano. | ||
| 653 | _aPontormo. | ||
| 653 | _aPope Julius II. | ||
| 653 | _aPseudo-Bonaventura. | ||
| 653 | _aPutto. | ||
| 653 | _aReginald Pole. | ||
| 653 | _aReligion. | ||
| 653 | _aRenaissance art. | ||
| 653 | _aRichard Wollheim. | ||
| 653 | _aRokeby Venus. | ||
| 653 | _aRomanticism. | ||
| 653 | _aRuggiero (character). | ||
| 653 | _aSack of Rome (1527). | ||
| 653 | _aSaint Roch. | ||
| 653 | _aSandro Botticelli. | ||
| 653 | _aSimone Martini. | ||
| 653 | _aSistine Chapel. | ||
| 653 | _aSleeping Venus (Giorgione). | ||
| 653 | _aThe Feast of the Gods. | ||
| 653 | _aThe Fire in the Borgo. | ||
| 653 | _aThe Philosopher. | ||
| 653 | _aThe School of Athens. | ||
| 653 | _aThe Spirit of the Laws. | ||
| 653 | _aThe Vision of the Cross. | ||
| 653 | _aThe Worship of Venus. | ||
| 653 | _aTintoretto. | ||
| 653 | _aTitian. | ||
| 653 | _aWork of art. | ||
| 850 | _aIT-RoAPU | ||
| 856 | 4 | 0 | _uhttps://doi.org/10.1515/9780691200774?locatt=mode:legacy |
| 856 | 4 | 0 | _uhttps://www.degruyter.com/isbn/9780691200774 |
| 856 | 4 | 2 |
_3Cover _uhttps://www.degruyter.com/document/cover/isbn/9780691200774/original |
| 942 | _cEB | ||
| 999 |
_c194731 _d194731 |
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