LEADER 08181nam 22019335 450 001 996248327403316 005 20211015022258.0 010 $a0-691-25272-6 010 $a0-691-25271-8 010 $a0-691-65683-5 010 $a0-691-20077-7 010 $a0-691-09972-3 024 7 $a10.1515/9780691200774 035 $a(CKB)3780000000081555 035 $a(SSID)ssj0001556595 035 $a(PQKBManifestationID)16178990 035 $a(PQKBTitleCode)TC0001556595 035 $a(PQKBWorkID)13452362 035 $a(PQKB)11540324 035 $a(MiAaPQ)EBC5831603 035 $a(OCoLC)1132666424 035 $a(MdBmJHUP)muse76236 035 $a(DE-B1597)535165 035 $a(OCoLC)1121057054 035 $a(DE-B1597)9780691200774 035 $a(dli)HEB30546 035 $a(MiU) MIU01100000000000000000287 035 $a(DE-B1597)666248 035 $a(DE-B1597)9780691252728 035 $a(EXLCZ)993780000000081555 100 $a20200406h20192019 fg 0 101 0 $aeng 135 $aurcnu|||||||| 181 $ctxt 182 $cc 183 $acr 200 10$aOnly Connect $eArt and the Spectator in the Italian Renaissance /$fJohn K.G. Shearman 210 1$aPrinceton, NJ :$cPrinceton University Press,$d[2019] 210 4$dİ2019 215 $a1 online resource (329 pages) 225 0 $aPrinceton Legacy Library ;$v5579 300 $a"The National Gallery of Art, Washington, D.C." 311 0 $a0-691-65541-3 311 0 $a0-691-01917-7 320 $aIncludes bibliographical references and index. 327 $tFront matter --$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 330 $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 the 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. 410 0$aBollingen series ;$v35, 37. 517 3 $aArt and the spectator in the Italian Renaissance 606 $aAudiences$xPsychology 606 $aArt, Renaissance$zItaly 606 $aArt, Italian 610 $aAdolf von Hildebrand. 610 $aAlbrecht Dürer. 610 $aAltarpiece. 610 $aAndrea Fulvio. 610 $aAndrea Mantegna. 610 $aAndrea Solari. 610 $aAndrea del Sarto. 610 $aAntonello da Messina. 610 $aAntonio Rossellino. 610 $aAretino. 610 $aBacchus and Ariadne. 610 $aBaptistery. 610 $aBaroque architecture. 610 $aBasilica. 610 $aBembo. 610 $aCamera degli Sposi. 610 $aCaravaggio. 610 $aCatullus. 610 $aCecilia Gallerani. 610 $aChiaroscuro. 610 $aChrist among the Doctors (Dürer). 610 $aConceit. 610 $aCosimo de' Medici. 610 $aCounter-Reformation. 610 $aCristofano Allori. 610 $aDella Rovere. 610 $aDiego Velázquez. 610 $aDonatello. 610 $aDuke of Florence. 610 $aEdward Burne-Jones. 610 $aEpigram. 610 $aFamulus. 610 $aFeast of the Gods (art). 610 $aFilarete. 610 $aFilippino Lippi. 610 $aGalleria Borghese. 610 $aGinevra de' Benci. 610 $aGiorgio Vasari. 610 $aGiorgione. 610 $aGiovanni Bellini. 610 $aGiovanni Pisano. 610 $aGiulio Romano. 610 $aGrand manner. 610 $aHercules and Cacus. 610 $aHeroides. 610 $aHigh Renaissance. 610 $aHigh place. 610 $aHyperbole. 610 $aIntentionality. 610 $aJan van Eyck. 610 $aLas Meninas. 610 $aLateran Baptistery. 610 $aLodovico Dolce. 610 $aMadonna of the Harpies. 610 $aMario Equicola. 610 $aMario Praz. 610 $aMarriage of the Virgin (Perugino). 610 $aMasaccio. 610 $aMaster of the Virgo inter Virgines. 610 $aMichelangelo. 610 $aMona Lisa Smile. 610 $aMystery play. 610 $aNational Gallery of Art. 610 $aOrlando Furioso. 610 $aParagone. 610 $aParmigianino. 610 $aPersius. 610 $aPesaro Madonna. 610 $aPetrarch. 610 $aPhrenology. 610 $aPietro da Cortona. 610 $aPoetry. 610 $aPoliziano. 610 $aPontormo. 610 $aPope Julius II. 610 $aPseudo-Bonaventura. 610 $aPutto. 610 $aReginald Pole. 610 $aReligion. 610 $aRenaissance art. 610 $aRichard Wollheim. 610 $aRokeby Venus. 610 $aRomanticism. 610 $aRuggiero (character). 610 $aSack of Rome (1527). 610 $aSaint Roch. 610 $aSandro Botticelli. 610 $aSimone Martini. 610 $aSistine Chapel. 610 $aSleeping Venus (Giorgione). 610 $aThe Feast of the Gods. 610 $aThe Fire in the Borgo. 610 $aThe Philosopher. 610 $aThe School of Athens. 610 $aThe Spirit of the Laws. 610 $aThe Vision of the Cross. 610 $aThe Worship of Venus. 610 $aTintoretto. 610 $aTitian. 610 $aWork of art. 615 0$aAudiences$xPsychology. 615 0$aArt, Renaissance 615 0$aArt, Italian. 676 $a709/.45/09024 700 $aShearman$b John K.G.$4aut$4http://id.loc.gov/vocabulary/relators/aut$01016830 712 02$aNational Gallery of Art (U.S.) 801 0$bDE-B1597 801 1$bDE-B1597 906 $aBOOK 912 $a996248327403316 996 $aOnly Connect$92381250 997 $aUNISA