LEADER 02884nam 2200469 n 450 001 9910136770903321 005 20230221124534.0 010 $a9788867055678 010 $a8867055674 010 $a9788867053711 010 $a886705371X 035 $a(CKB)3710000000649857 035 $a(oapen)https://directory.doabooks.org/handle/20.500.12854/53518 035 $a(NjHacI)993710000000649857 035 $a(ScCtBLL)bd540655-75b6-43ad-8211-552fb8339350 035 $a(OCoLC)1048156503 035 $a(Perlego)1095925 035 $a(oapen)doab53518 035 $a(EXLCZ)993710000000649857 100 $a20202102d2015 |y 0 101 0 $aita 135 $aurmn|---annan 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$aMillard Meiss. Tra Connoisseurship, iconologia e Kulturgeschichte 210 $cLedizioni$d2015 215 $a1 electronic resource (370 p.) 311 08$a9788867053704 311 08$a8867053701 330 $aA member of that first generation trained in the golden age of American history of art between the 1920s and 30s, Millard Meiss (1904-1975) developed a new and multi-faceted methodological approach. On the one hand, the connoisseurship he learned from his first mentor, Richard Offner, was applied in the essays on Tuscan Trecento, from Francesco Traini in Pisan Camposanto, to the disputes between Duccio and Cimabue, to the Assisi problem. On the other hand, his study of the connections between Italy and Flanders and their stylistic crossroads in French illumination was, conversely, stimulated by his encounter with Panofsky, together with a reconsideration of his method now aimed at analysing the meaning of the artwork. A course which led Meiss to focus on the influences of the philosophical and religious climate on art in his famous Painting in Florence and Siena after the Black Death, whose problematic reception in the Anglo-Saxon and Italian milieus sparked a debate on the social history of art. This was coupled with a sensibility for the study of art techniques and restoration resulting in Meiss's personal involvement in the committees for the recovery of the works damaged by the war (ACRIM) and, once again, to rescue Florentine and Venetian heritage after the flood in 1966 (CRIA). Finally, some useful elements to consider the scholar's critical fortune may be seen in his relationships with Italian art historians, within the framework of the likewise difficult acceptance of iconology in Italy. 517 $aMillard Meiss 606 $aArt historians 615 0$aArt historians. 676 $a707.2 700 $aJennifer Cooke$4auth$01301439 801 0$bNjHacI 801 1$bNjHacl 906 $aBOOK 912 $a9910136770903321 996 $aMillard Meiss. Tra Connoisseurship, iconologia e Kulturgeschichte$93025850 997 $aUNINA