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03276aam a2200373Ii 4500 001 9D1C2FFA969D11EBB000DAFF5DECA4DB 003 SILO 005 20210406010037 008 191127t20202020be a b 001 0 eng d 020 $a 1912554348 020 $a 9781912554348 035 $a (OCoLC)1129016014 040 $a HLS $b eng $e rda $c HLS $d OCLCQ $d ERASA $d HLS $d QGK $d YDX $d NLE $d QGK $d OCLCF $d YDXIT $d CDX $d CMA $d PTS $d OCLCO $d SILO 050 4 $a ND623 M3 C37 2020 100 1 $a Campbell, Stephen J. $q (Stephen John), $d 1963- $e author. 245 10 $a Andrea Mantegna : $b humanist aesthetics, faith, and the force of images / $c Stephen J. Campbell. 264 1 $a London ; $b Harvey Miller Publishers, $c [2020] 300 $a xix, 308 pages : $b illustrations (chiefly color) ; $c 29 cm. 490 1 $a Renovation artium 490 1 $a The Bettie Allison Rand lectures in art history 504 $a Includes bibliographical references (pages [281]-300) and index. 520 8 $a If the fifteenth century in Italy has been seen as the moment when the constellation of disciplines known as 'the humanities' begins to take shape, it was also a time when a 'crisis in the humanities' ? their value, their limits, who and what they included or excluded ? was also manifest. A largely nineteenth century construction of 'Renaissance humanism' has indelibly cast humanist pursuits in terms of writing, with arts of making or techne sometimes idealized as a second order manifestation of humanist ideas. This book re-examines the career of one socially and intellectually ambitious artist, Andrea Mantegna (1431-1506) and his intellectual network, to re-open questions of the locations of humanism, the notion of 'humanist art ' or painting as a form of discourse that far from being ancillary to poetry, history, or rhetoric, served as a model for all three. It will be shown that the place of normativity or typicality that Andrea Mantegna occupies in the History of Art ? 'Early Renaissance artist' 'artist as antiquarian ' 'Albertian perspectivist' has kept from view the more radical potential of his work for a re-description of early Renaissance painting. The major works examined here ? the Ovetari Chapel, the Camera Picta, the altarpieces for Padua and Verona, the Triumphs of Caesar, adopt strikingly original means to address their beholder, and to control and even produce their spatial and ideological milieu, challenging conventional notions of 'the gaze' and how it operates in early Renaissance art. Furthermore, Mantegna's representations entail a striking integration of writing and painting as modes of transmission: Mantegna and his audience were highly attentive to the materiality of text, image, and object in the transmission of knowledge. 600 10 $a Mantegna, Andrea, $d 1431-1506. 650 0 $a Painting, Renaissance $z Italy. 650 0 $a Christian art and symbolism $y Renaissance, 1450-1600. 650 0 $a Drawing, Italian. 700 1 $a Mantegna, Andrea, $d 1431-1506, $e artist. 830 0 $a Renovatio artium 830 0 $a Bettie Allison Rand lectures in art history 941 $a 2 952 $l OVUX522 $d 20220317014401.0 952 $l USUX851 $d 20211005011921.0 956 $a http://locator.silo.lib.ia.us/search.cgi?index_0=id&term_0=9D1C2FFA969D11EBB000DAFF5DECA4DB 994 $a C0 $b IWAInitiate Another SILO Locator Search