Series information courtesy of the Brepols website. Harvey Miller Publishers an imprint of Brepols Publishers. Includes bibliographical references (pages 329-348).
Contents:
Picture-within-picture / Andre Chastel -- Origin and reception -- Mimesis as pictoriality of semblance / Klaus Kruger -- On the fictiveness of religious imagery in the Trecento / Klaus Kruger -- Complicity and self-awareness: the frescoes of Giusto de' Menabuoi at the Santo / Robert Brennan -- Tradition and innovation. Images-within-images in Italian paintings after the Age of Giotto / Peter Bokody -- Transformations -- Depicting panel painting in fifteenth-century Netherlandish art: questions of transfer and reception / Erik Eising -- Practical ekphrasis. On images-within-images in Van Eyck and Mantegna / Wolfgang Kemp -- Metapainting and the painted book / Nicholas Herman -- Reflexive devotion -- The self-aware attribute, or 'Where does a parergon begin and end?' / Anna Degler -- At the threshold of painting: The Man of Sorrows by Albrecht Durer / Beate Fricke -- Structures of archaism in Leonardo, Fra Bartolommeo, and Raphael / Alexander Nagel -- Jan Gossart's immaculate art / Shira Brisman -- Epilogue -- Picture-within-picture / Andre Chastel -- Bibliography. Bibliography.
Summary:
The volume offers an overview of meta-pictorial tendencies in book illumination, mural and panel painting during the Italian and Northern Renaissance. It examines visual forms of self-awareness in the changing context of Latin Christianity and claims the central role of the Renaissance in the establishment of the modern condition of art. Meta-painting refers to the ways in which artworks playfully reveal or critically expose their own fictiveness, and is considered a constitutive aspect of Western art. Its rise was connected to changes in the consumption of religious imagery in the sixteenth century and to the advent of the portable framed canvas, the single most important medium of modernity. While the key initial contributions of some Renaissance painters from Jan van Eyck to Andrea Mantegna have always been acknowledged, in the principal narrative the Renaissance has largely remained the naive moment of realistic experimentation to be ultimately superseded by the complex reflexive developments in Early Modern art, following the Reformation.
Series:
Studies in Medieval and Early Renaissance Art History
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