01002nam0-2200325---450-99000945033040332120111013103549.0000945033FED01000945033(Aleph)000945033FED0100094503320111013d1970----km-y0itay50------baspaengESy-------001yyGarner, toxicologia veterinariahan contribuido a la redaccion de secciones de este libro R. J. Garner y D. S. Papworth3. ed revisadaZaragozaAcribia1970470 p.25 cm0010009450382001Garner's veterinary toxicology14093Tossicologia veterinariaGarner,Reuben John513444Papworth,D. S.513445ITUNINARICAUNIMARCBK99000945033040332149 D 58055DMVAPDMVAPGarner's veterinary toxicology14093UNINA04092oam 22009494a 450 991095442520332120240505190123.097815261046701526104679978152612072415261207209781526104663152610466010.7765/9781526104663(CKB)3710000001025582(MiAaPQ)EBC4789600(StDuBDS)EDZ0001665932(OCoLC)989037205(MdBmJHUP)muse59381(DE-B1597)660570(DE-B1597)9781526104663(Perlego)1526070(EXLCZ)99371000000102558220170222d2017 uy 0engurcnu||||||||rdacontentrdamediardacarrierFleshing out surfacesSkin in French art and medicine, 1650–1850 /Mechthild Fend1st ed.Manchester :Manchester University Press,2017.Baltimore, Md. :Project MUSE,2017©2017.1 online resource (347 pages) color illustrationsRethinking art's historiesPreviously issued in print: 2017.9780719087967 0719087961 Includes bibliographical references (pages 281-303) and index.The surface's substance -- Nervous canvas -- Sensitive limit -- Skin colour -- Seeing through the skin -- Hermetic borderline -- Epilogue : segregagtion.'Fleshing out surfaces' is the first English-language book on skin and flesh tones in art. It considers flesh and skin in art theory, image making and medical discourse in seventeenth to nineteenth-century France. Describing a gradual shift between the early modern and the modern period, it argues that what artists made when imitating human nakedness was not always the same. Initially understood in terms of the body's substance, of flesh tones and body colour, it became increasingly a matter of skin, skin colour and surfaces. Each chapter is dedicated to a different notion of skin and its colour, from flesh tones via a membrane imbued with nervous energy to hermetic borderline. Looking in particular at works by Fragonard, David, Girodet, Benoist and Ingres, the focus is on portraits, as facial skin is a special arena for testing painterly skills and a site where the body and the image become equally expressive.--Source other than Library of Congress.Rethinking art's histories.SkinPsychological aspectsfast(OCoLC)fst01120112Skin in artfast(OCoLC)fst01120144Human skin color in artfast(OCoLC)fst00963469Art, FrenchThemes, motivesfast(OCoLC)fst00816297Anatomy, Artisticfast(OCoLC)fst00808452Anatomy, ArtisticArt, FrenchThemes, motivesSkinPsychological aspectsHuman skin color in artSkin in artart theory, France 1600-1900.artistic anatomy 1700-1900.colour.flesh tones.history of the body.materiality.medical History, 1600-1900.painterly practice.painting, France 1700-1850.skin colour.skin.SkinPsychological aspects.Skin in art.Human skin color in art.Art, FrenchThemes, motives.Anatomy, Artistic.Anatomy, Artistic.Art, FrenchThemes, motives.SkinPsychological aspects.Human skin color in art.Skin in art.709.944Fend Mechthild1173826MdBmJHUPMdBmJHUPBOOK9910954425203321Fleshing out surfaces4361049UNINA