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John Shearman makes a 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 constructs a history of 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.
"synopsis" may belong to another edition of this title.
About the Author:
John Shearman is William Door Boardman Professor of Fine Arts at Harvard University.
Review:
"In guiding our concentrated attention to the action that unfolds in [a group of paintings by Raphael, Michelangelo, Pontormo, and others that represent the Entombment], the author has taught us to make the relevant connections and thus to see these deeply moving works with fresh eyes."---E. H. Gombrich, The New York Review of Books
"As the author of a brilliant work on Mannerism, in which literature and music were employed to explain characteristic forms, Shearman is eminently qualified for his task. [He] weaves a brilliant account of poetry and painting immortalising the sitter."---Bruce Boucher, The Times
". . . the author has taught us to make the relevant connections and thus to see these deeply moving works with fresh eyes."---E. H. Gombrich, The New York Review of Books
"[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."---Robin Blake, Independent on Sunday
"One of Choice's Outstanding Academic Titles for 1993"
"Shearman's six lectures contribute significantly to current debates about the interpretation of images, particularly in relation to their reception by the spectators."---Martin Kemp, The Times Literary Supplement
"Winner of the Charles Rufus Morey Award, College Art Association"
"As the author of a brilliant work on Mannerism, in which literature and music were employed to explain characteristic forms, Shearman is eminently qualified for his task. [He] weaves a brilliant account of poetry and painting immortalising the sitter."---Bruce Boucher, The Times
". . . the author has taught us to make the relevant connections and thus to see these deeply moving works with fresh eyes."---E. H. Gombrich, The New York Review of Books
"[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."---Robin Blake, Independent on Sunday
"One of Choice's Outstanding Academic Titles for 1993"
"Shearman's six lectures contribute significantly to current debates about the interpretation of images, particularly in relation to their reception by the spectators."---Martin Kemp, The Times Literary Supplement
"Winner of the Charles Rufus Morey Award, College Art Association"
"About this title" may belong to another edition of this title.
- PublisherPrinceton University Press
- Publication date1992
- ISBN 10 0691099723
- ISBN 13 9780691099729
- BindingHardcover
- Number of pages308
- Rating
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ISBN 13: 9780691099729
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ONLY CONNECT
Published by
Princeton University Press
(1992)
ISBN 10: 0691099723
ISBN 13: 9780691099729
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Hardcover
Quantity: 1
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