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| Author | : Michael Baxandall |
| Publisher | : Yale University Press |
| Total Pages | : 446 |
| Release | : 1980-01-01 |
| Genre | : Art |
| ISBN | : 9780300028294 |
A detail examination of the craftsmanship and lives of German woodcarvers from 1475 to 1525 discusses their artistic styles, techniques of carving, and place in society.
| Author | : Michael Baxandall |
| Publisher | : |
| Total Pages | : 0 |
| Release | : 1980 |
| Genre | : Art, Renaissance |
| ISBN | : |
| Author | : Michael Baxandall |
| Publisher | : |
| Total Pages | : 92 |
| Release | : 1974 |
| Genre | : Art |
| ISBN | : |
| Author | : Robert Williams |
| Publisher | : Routledge |
| Total Pages | : 205 |
| Release | : 2017-07-05 |
| Genre | : Art |
| ISBN | : 1351558374 |
'The most important art historian of his generation? is how some scholars have described the late Michael Baxandall (1933-2007), Professor of the Classical Tradition at the Warburg Institute, University of London, and of the History of Art at the University of California, Berkeley. Baxandall?s work had a transformative effect on the study of European Renaissance and eighteenth-century art, and contributed to a complex transition in the aims and methods of art history in general during the 1970s, ?80s and ?90s. While influential, he was also an especially subtle and independent thinker - occasionally a controversial one - and many of the implications of his work have yet to be fully understood and assimilated. This collection of 10 essays endeavors to assess the nature of Baxandall?s achievement, and in particular to address the issue of the challenges it offers to the practice of art history today. This volume provides the most comprehensive assessment of Baxandall?s work to date, while drawing upon the archive of Baxandall papers recently deposited at the Cambridge University Library and the Warburg Institute.
| Author | : Tilman Riemenschneider |
| Publisher | : Yale University Press |
| Total Pages | : 352 |
| Release | : 1999 |
| Genre | : Art |
| ISBN | : 9780300081626 |
The sculpture of Tilman Riemenschneider stands at the threshold of two eras. Solidly anchored in the late Gothic tradition, it is also astonishingly daring. Riemenschneider, who was active in Wurzburg from around 1483 until 1531, was one of the first sculptors to abandon polychromy on occasion, making a conscious aesthetic decision to leave visible his favored material, limewood. His sculpture strikes a rare balance between formal elegance and expressive strength, and it is among the most appealing work of the late Middle Ages. The approximately fifty works documented in this handsome volume offer a fresh look at this great master. The book presents a broad survey of Riemenschneider's oeuvre, including representative work from all periods of his career. Contributors explore the sources for his art, his social millieu and the organization of his workshop, the critical reception of his work, his polychrome and monochrome sculpture. Photographs commissioned especially for the book present the great altarpieces in Rothenburg on the Tauber, Creglingen, and Maidbronn as well as the large stone sculpture in Wurzburg. The book is the first publication in English with color reproductions of a significant portion of Riemenschneider's oeuvre.
| Author | : Victor Margolin |
| Publisher | : University of Chicago Press |
| Total Pages | : 302 |
| Release | : 1989-09-15 |
| Genre | : Art |
| ISBN | : 0226505146 |
The editor has gathered together a body of writing in the emerging field of design studies. The contributors argue in different ways for a rethinking of design in the light of its cultural significance and its powerful position in today's society. The collection begins with a discussion of the various expressions of opposition to the modernists' purist approach toward design. Drawing on postmodernist theory and other critical strategies, the writers examine the relations among design, technology, and social organization to show how design has become a complex and multidisciplinary activity. The second section provides examples of new methods of interpreting and analysing design, ranging from rhetoric and semiotics to phenomenology, demonstrating how meaning is created visually. A final section related to design history shifts its emphasis to ideological frameworks such as capitalism and patriarchy that establish boundaries for the production and use of design.
| Author | : Mitchell B. Merback |
| Publisher | : University of Chicago Press |
| Total Pages | : 364 |
| Release | : 1999-07 |
| Genre | : Art |
| ISBN | : 9780226520155 |
Christ's Crucifixion is one of the most recognized images in Western visual culture, and it has come to stand as a universal symbol of both suffering and salvation. But often overlooked in this symbolic language is the fact that ultimately the Crucifixion is a scene of capital punishment. In The Thief, the Cross and the Wheel, Mitchell Merback reconstructs the religious, legal, and historical context of the Crucifixion and of other images of public torture. The result is an account of a time when criminal justice and religion were entirely interrelated and punishment was a visual spectacle devoured by a popular audience.
| Author | : Susie Nash |
| Publisher | : OUP Oxford |
| Total Pages | : 384 |
| Release | : 2008-11-27 |
| Genre | : Art |
| ISBN | : 0191540021 |
This book offers a wide-ranging introduction to the way that art was made, valued, and viewed in northern Europe in the age of the Renaissance, from the late fourteenth to the early years of the sixteenth century. Drawing on a rich range of sources, from inventories and guild regulations to poetry and chronicles, it examines everything from panel paintings to carved altarpieces. While many little-known works are foregrounded, Susie Nash also presents new ways of viewing and understanding the more familiar, such as the paintings of Jan van Eyck, Rogier van der Weyden, and Hans Memling, by considering the social and economic context of their creation and reception. Throughout, Nash challenges the perception that Italy was the European leader in artistic innovation at this time, demonstrating forcefully that Northern art, and particularly that of the Southern Netherlands, dominated visual culture throughout Europe in this crucial period.
| Author | : Jeffrey Chipps Smith |
| Publisher | : Univ of TX + ORM |
| Total Pages | : 729 |
| Release | : 2014-12-15 |
| Genre | : Art |
| ISBN | : 1477306374 |
This illustrated study of Renaissance Nuremberg explores the city’s social and artistic history through the sixteenth century and beyond. The German city of Nuremberg reached the height of its artistic brilliance during the Renaissance, becoming one of the foremost cultural centers in all of Europe by 1500. Nuremberg was the home of painter Albrecht Dürer, whose creative genius inspired generations of German artists. However, Dürer was only one of a host of extraordinary painters, printmakers, sculptors, and goldsmiths working in the city. Following a map of the city’s principal landmarks, Guy Fitch Lytle provides a compact historical background for Jeffrey Chipps Smith's detailed discussions of the city’s social and artistic significance. Smith examines the religious function of art before and during the Reformation; the early manifestations of humanism in Nuremberg and its influence on the art of Dürer and his contemporaries; and the central role of Dürer’s pedagogical ideas and his workshop in the dissemination of Renaissance artistic concepts. Finally, Smith surveys the principal artists and stylistic trends in Nuremberg from 1500 to the outbreak of the Thirty Years War. Nuremberg: A Renaissance City, 1500-1618 contains biographical sketches of forty-five major artists of the period, plus more than three hundred illustrations depicting the city and its most magnificent artistic treasures.
| Author | : Elizabeth C. Parker |
| Publisher | : Metropolitan Museum of Art |
| Total Pages | : 485 |
| Release | : 1992 |
| Genre | : |
| ISBN | : 0870996355 |
