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The Aesthetics Of Italian Renaissance Art: A Reconsideration Of Style - WOHL, HELLMUT
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WOHL, HELLMUT:
The Aesthetics Of Italian Renaissance Art: A Reconsideration Of Style - Erstausgabe

2009, ISBN: 9780521570640

Taschenbuch, Gebundene Ausgabe, ID: 385986296

Hunan Fine Arts Publishing House; 1 edition (March. paperback. New. Ship out in 2 business day, And Fast shipping, Free Tracking number will be provided after the shipment.Paperback. Language: Chinese. Publisher: Hunan Fine Arts Publishing House; 1 (March 1. 2009). Appreciation Book Art treasures: calligraphy compilation (d) Introduction: Calligraphy is the ancient Chinese literati art by writing to the individual conservation. aesthetic pursuit. direct exposure of an art form. us from ancient and modern works of calligrapher. recollected the scene when they brush brush; paper and silk from ink marks. the wondering their inner compassion. joy. sorrow. music. ap... Satisfaction guaranteed,or money back., Hunan Fine Arts Publishing House; 1 edition (March, The Arts Publishing Corporation, New York, 1924. Approx. 11 3/8" X 9" in heavy tan cloth with leather spine label. Covers moderately smudged, but overall VG or better condition. This volume is comprised of 6 months (July thru December) of The Arts Magazine from 1924 bound together. Oddly, the front covers of the magazines have been removed and bound together in the front of the book, and the back covers have likewise been bound together in the back. The ARTS covered the art scene in New York and around the world. There are illustrations of art from ages past such as the article on the art of Ancient Peru, and there are also articles on more contemporary artists, shows, books on art, etc. 352pp + many pp of ads. This book was previously the property of A.E. Gallatin: Gallatin was born in 1881 into a wealthy and socially prominent family. Showing a youthful interest in art and literature, he began to collect works by Max Beerbohm, Aubrey Beardsley, and James McNeill Whistler while still in his teens. The common element in these purchases was a preference for works that he saw as possessing a harmonious, refined, and decorative nature, rather than a naturalistic or literal one. He appreciated their aesthetic over their narrative content and their intrinsic over their didactic or utilitarian value.[2][3][4][5] As he collected art, he also began to write about it. For the two decades following the turn of the century, Gallatin produced a constant stream of articles, small monographs, and books of engraved plates.[6] Between 1900 and 1910 most of these concerned Beardsley and Whistler. In examining their drawings and paintings he sought to find out what gave these works enduring value as opposed to superficial and temporary popularity. To him, their excellence showed in elegance of line and quality of design.[7] He also drew attention to what he called a "decorative feeling" in works by these two artists in contrast to what he considered to be the less aesthetic realism of Degas and Millet.[4][8] He maintained that modern art did not become popular because it was good, but because it scandalized. For example, in 1902 he wrote that Beardsley's drawings attracted notice by their shocking distortion of perspective and proportion and their escape from artistic conventions. Because their true value was not readily apparent, he believed that only connoisseurs along with Beardsley's fellow artists could fully appreciate them.[9][10] In another article, he called Whistler an artist "whose work must remain more or less incomprehensible to the general public."[11] He also wrote that the best art was created solely for its own sake. He wrote of Whistler's "unflinching devotion to beauty" and freedom from "commercialism, vulgarity, and the spirit of gain."[12][13] Gallatin said Whistler's subjects were never ugly or lacking taste. In his view, Whistler was not a realist because he never descended to the obvious or commonplace.[14] When his father died in 1902, Gallatin became head of a family consisting of himself, two sisters, and their mother. As a member of New York's social elite he gave and attended high-profile dinners, dances, weddings, and benefits. His name appeared frequently in the press as a result these activities and also as a result of his pioneering affection for automobiles and motor sport.[2][4] His inheritance made it unnecessary for him to work for a living and he chose not to follow the lead of other members of his class by engaging in banking, stock brokerage, or other professional occupation. Instead, he continued to collect art and to enhance his reputation as an art connoisseur by his writings. During the years leading up to the First World War he became increasingly interested in American artists such as the illustrator, Otho Cushing, the pleinair painter, Frederick Frieseke, and the painter of interiors, Walter Gay.[14] He also acquired and wrote about artists associated with the Ashcan School." [Wikipedia]. 1st Edition. Hardcover. Very Good/No Jacket., The Arts Publishing Corporation, New York, 1924, The Arts Publishing Corporation, 1924. 11.5" X 9" in heavy tan buckram with leather spine label. Covers lightly soiled; about 1/3 of spine label chipped away. Contents like new. This 6 months of the magazine "THE ARTS" bound together. Front covers all together in the front followed by contents, followed by all back covers together. Covers the art scene in New York - gallery openings, books, exhibitions, etc. as well as articles about art, some by famous artists. This volume was previously owned by the famous art collector, A.E. Gallatin: "Gallatin was born in 1881 into a wealthy and socially prominent family. Showing a youthful interest in art and literature, he began to collect works by Max Beerbohm, Aubrey Beardsley, and James McNeill Whistler while still in his teens. The common element in these purchases was a preference for works that he saw as possessing a harmonious, refined, and decorative nature, rather than a naturalistic or literal one. He appreciated their aesthetic over their narrative content and their intrinsic over their didactic or utilitarian value.[2][3][4][5] As he collected art, he also began to write about it. For the two decades following the turn of the century, Gallatin produced a constant stream of articles, small monographs, and books of engraved plates.[6] Between 1900 and 1910 most of these concerned Beardsley and Whistler. In examining their drawings and paintings he sought to find out what gave these works enduring value as opposed to superficial and temporary popularity. To him, their excellence showed in elegance of line and quality of design.[7] He also drew attention to what he called a "decorative feeling" in works by these two artists in contrast to what he considered to be the less aesthetic realism of Degas and Millet.[4][8] He maintained that modern art did not become popular because it was good, but because it scandalized. For example, in 1902 he wrote that Beardsley's drawings attracted notice by their shocking distortion of perspective and proportion and their escape from artistic conventions. Because their true value was not readily apparent, he believed that only connoisseurs along with Beardsley's fellow artists could fully appreciate them.[9][10] In another article, he called Whistler an artist "whose work must remain more or less incomprehensible to the general public."[11] He also wrote that the best art was created solely for its own sake. He wrote of Whistler's "unflinching devotion to beauty" and freedom from "commercialism, vulgarity, and the spirit of gain."[12][13] Gallatin said Whistler's subjects were never ugly or lacking taste. In his view, Whistler was not a realist because he never descended to the obvious or commonplace.[14]" [Wikipedia]. Gallatin's name appears on the flyleaf.. 1st Edition. Hardcover. Very Good/No Jacket., The Arts Publishing Corporation, 1924, Rong Bao Zhai Press; 1 (February 1. 2009). paperback. New. Ship out in 2 business day, And Fast shipping, Free Tracking number will be provided after the shipment.Paperback. Pages Number: 115 Language: Chinese. Publisher: Rong Bao Zhai Press; 1 (February 1. 2009). Wu Guanzhong 2008 yearbook entries. mainly about: Wu Guanzhong in the 20th century painter of modern Chinese painting one of the representatives. He made a great modern Chinese paintings contribution. Over the years. his tireless efforts to explore both eastern and western painting art of the different aesthetic languages the concept of perseverance to practice the Oil Painting. modern Chines... Satisfaction guaranteed,or money back., Rong Bao Zhai Press; 1 (February 1. 2009), Academia Press; s 1 edition (April 1. 2006). paperback. New. Ship out in 2 business day, And Fast shipping, Free Tracking number will be provided after the shipment.Paperback. Pages Number: 237 Language: Chinese. Publisher: Academia Press; 1 (April 1. 2006). New Oriental Artistic Views of Introduction : The new Orientalism represents a fusion of cultural and artistic trends. this art is a fusion of the resulting penetration of the indigenous civilization after another contains all the special aesthetic. representing the modern and Wyse love the dual aesthetic interest. representing Eastern culture positive response to the impact of the West. both in comm... Satisfaction guaranteed,or money back., Academia Press; s 1 edition (April 1. 2006), London, : Thames and Hudson. Second Edition.. The dustjacket with stronger signs of wear. The volume itself in very good condition with only minor signs of wear. Fantastic publication.. Second Edition. London, Thames and Hudson, 1959. 28cm x 33cm. 238 unnumbered pages including 182 plates. Original Hardcover with original dustjacket. The dustjacket with stronger signs of wear. The volume itself in very good condition with only minor signs of wear. Fantastic publication. Includes for example: The Eastern Mediterranean/ The Valley of the Nile/ The Barbary Coast/ The Western Mediterranean/ The Aegean, The Ionian, and the Adriatic/ Roloff Beny, OC (January 7, 1924 – March 16, 1984) was a Canadian photographer who spent the better part of his life in Rome and on his photographic travels throughout the world. Born Wilfred Roy Beny in Medicine Hat, Alberta, he later took as his first name Roloff, his mother's maiden name. Beny studied at the University of Toronto, took art classes at the Banff Centre for the Arts and the University of Iowa. At Iowa, he studied with master printmaker Mauricio Lasansky. A print by Lasansky was given by Beny along with his entire collection of International and Canadian art, the collection of his own art along with his archival papers to the University of Lethbridge Art Gallery. The collection is searchable online. Beny established this extensive study archive at the university in the city of his upbringing, Lethbridge AB. He maintained a photographic studio in Lethbridge throughout his life. He utilized the studio when returning to visit his relatives, many of whom continue to live there. Beny had a considerable reputation and exhibition record as the maker of progressive painting, drawing and printmaking in the late 1940s and early 1950s. He was recognized as one of the leading abstract artists of his day with works of the period exhibited and collected at that time by distinguished institutions such as the Metropolitan Museum, Museum of Modern Art, Art Gallery of Ontario and National Gallery of Canada among others. His work in 'fine art': painting, drawing and prints is discussed in the book by Mitchell Crites: "Roloff Beny Visual Journey." Canada, as Beny remarked, had "no temples two thousand years old, no paths worn hard by passionate travelers." But the photographer soon found his way to those paths and temples in the course of "insatiable wanderings in Europe and Asia," and, above all, around the long, richly-indented perimeter of the Mediterranean. Beny was in early days a protégé of Peggy Guggenheim and Herbert Read. The circle of friends around him -- actors, artists, collectors, writers -- included such figures as Laurence Olivier, Stephen Spender, Rose Macauly, Bernhard Berenson, Jean Cocteau, Henry Moore, and other luminaries of art and literature. His readers, like his travels, are international, and his books have been published in America, Canada, England, France, Germany, Italy, Spain, the Netherlands, Yugoslavia, Denmark, Sweden, Finland, Iran, and Japan. Roloff Beny, as he called himself, was a man obsessed with the beauty of the world. He has most justly been called "a poetic photographer" and he was a passionate aesthete whose eye transfigured everything he saw. His photographic journeys were recorded in a series of splendid large-scale volumes which appeared over the years. His visual journey led from his hometown of Medicine Hat, Alberta, in the shadow of the Canadian Rockies, to a penthouse overlooking the Tiber in Rome, which was his base for more than 30 years. Beny's work is in the collections of the Museum of Modern Art, the National Gallery of Canada, and the Yale University Art Gallery. "I see majestic ruins even in the architecture of the skies," he wrote in the Preface to one of his splendid and marvelous books. Roloff Beny died in 1984 of a heart attack, aged 60, in his Roman studio overlooking the Tiber. His last four volumes appeared posthumously. (Wikipedia), Thames and Hudson, Cambridge University Press, Cambridge: 1999. Hardcover with dustjacket. Very good condition. Name of previous owner appears on front endpaper. In this incisive study, Hellmut Wohl redefines style in the Italian Renaissance in the light of contemporary testimony and close rereadings of seminal works. Through analysis of visual and textual evidence, he posits that Renaissance artists and their viewers conceived of art as decoration of surfaces. Their preferences, which were largely shaped by the ornate style in the classical theory of rhetoric, provide a useful guide to the stylistic variables in Quattrocento and Cinquecento art; to the relationship of narrative, figurative, and decorative elements; and to the link between the arts of painting, sculpture, wood, and marble intarsie, mosaic and stained glass. Offering a new approach to the issue of style, Wohl suggests that the scientific dimensions of early modern art works were less important to contemporaries than their function as decoration and ornamentation. Here is a new approach to defining style in Italian Renaissance art. The contents of this book is as follows: 1. Style; 2. Ornato; 3. Rilievo; 4. The ornate Classical style; 5. Materials; 6. Ornament; 7. Transformations. "For the reader who already has a firm grasp of the essential arguments about Italian Renaissance aesthetics, this will be an interesting addition to the debate." - The Art Newspaper "É convincing and stimulating.'" - Gabriele Neher, The Art Book ISBN: 0521570646., Cambridge University Press, Cambridge: 1999

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The Aesthetics Of Italian Renaissance Art: A Reconsideration Of Style. - Wohl, Hellmut.
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Wohl, Hellmut.:
The Aesthetics Of Italian Renaissance Art: A Reconsideration Of Style. - gebunden oder broschiert

1999, ISBN: 0521570646

ID: 1158190233

[EAN: 9780521570640], D'occasion, très bon état, [SC: 24.42], [PU: Cambridge University Press, Cambridge], AESTHETICS. ITALIAN RENAISSANCE ART, STYLE, HELLMUT WOHL, ITALY, FEDERICO ZERI, GIORGIO VASARI, SIXTUS IV, ROME, FRANCESCO SALVIATI, RAPHAEL, PIERO DELLA FRANCESCA, LORENZO DE' MEDICI, MICHELANGELO BUONAROTTI, MASACCIO, LEONARDO DA VINCI, BENOZZO GOZZOLI, DOMENICO GHIRLANDAIOFLORENCE, DONATELLOVITTORE CARPACCIO, FILIPPO BRUNELLESCHI, SANDRO BOTTICELLI, ALESSO BALDOVINETTI, LEON BATTISTA ALBERTI, Art|History, Art|History|General, Jacket, 376 pages. Hardcover with dustjacket. Very good condition. Name of previous owner appears on front endpaper. ART. In this incisive study, Hellmut Wohl redefines style in the Italian Renaissance in the light of contemporary testimony and close rereadings of seminal works. Through analysis of visual and textual evidence, he posits that Renaissance artists and their viewers conceived of art as decoration of surfaces. Their preferences, which were largely shaped by the ornate style in the classical theory of rhetoric, provide a useful guide to the stylistic variables in Quattrocento and Cinquecento art; to the relationship of narrative, figurative, and decorative elements; and to the link between the arts of painting, sculpture, wood, and marble intarsie, mosaic and stained glass. Offering a new approach to the issue of style, Wohl suggests that the scientific dimensions of early modern art works were less important to contemporaries than their function as decoration and ornamentation. Here is a new approach to defining style in Italian Renaissance art. The contents of this book is as follows: 1. Style; 2. Ornato; 3. Rilievo; 4. The ornate Classical style; 5. Materials; 6. Ornament; 7. Transformations. "For the reader who already has a firm grasp of the essential arguments about Italian Renaissance aesthetics, this will be an interesting addition to the debate." - The Art Newspaper "É convincing and stimulating.'" - Gabriele Neher, The Art Book (Key Words: Aesthetics. Italian Renaissance Art, Style, Hellmut Wohl, Italy, Federico Zeri, Giorgio Vasari, Sixtus IV, Rome, Francesco Salviati, Raphael, Piero della Francesca, Lorenzo de' Medici, Michelangelo Buonarotti, Masaccio, Leonardo da Vinci, Benozzo Gozzoli, Domenico GhirlandaioFlorence, DonatelloVittore Carpaccio, Filippo Brunelleschi, Sandro Botticelli, Alesso Baldovinetti, Leon Battista Alberti).

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The Aesthetics Of Italian Renaissance Art: A Reconsideration Of Style. - Wohl, Hellmut.
Vergriffenes Buch, derzeit bei uns nicht verfügbar.
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Wohl, Hellmut.:
The Aesthetics Of Italian Renaissance Art: A Reconsideration Of Style. - gebunden oder broschiert

1999, ISBN: 0521570646

ID: 1158190233

[EAN: 9780521570640], Gebraucht, sehr guter Zustand, [PU: Cambridge University Press, Cambridge], AESTHETICS. ITALIAN RENAISSANCE ART, STYLE, HELLMUT WOHL, ITALY, FEDERICO ZERI, GIORGIO VASARI, SIXTUS IV, ROME, FRANCESCO SALVIATI, RAPHAEL, PIERO DELLA FRANCESCA, LORENZO DE' MEDICI, MICHELANGELO BUONAROTTI, MASACCIO, LEONARDO DA VINCI, BENOZZO GOZZOLI, DOMENICO GHIRLANDAIOFLORENCE, DONATELLOVITTORE CARPACCIO, FILIPPO BRUNELLESCHI, SANDRO BOTTICELLI, ALESSO BALDOVINETTI, LEON BATTISTA ALBERTI, Art|History, Art|History|General, Jacket, 376 pages. Hardcover with dustjacket. Very good condition. Name of previous owner appears on front endpaper. ART. In this incisive study, Hellmut Wohl redefines style in the Italian Renaissance in the light of contemporary testimony and close rereadings of seminal works. Through analysis of visual and textual evidence, he posits that Renaissance artists and their viewers conceived of art as decoration of surfaces. Their preferences, which were largely shaped by the ornate style in the classical theory of rhetoric, provide a useful guide to the stylistic variables in Quattrocento and Cinquecento art; to the relationship of narrative, figurative, and decorative elements; and to the link between the arts of painting, sculpture, wood, and marble intarsie, mosaic and stained glass. Offering a new approach to the issue of style, Wohl suggests that the scientific dimensions of early modern art works were less important to contemporaries than their function as decoration and ornamentation. Here is a new approach to defining style in Italian Renaissance art. The contents of this book is as follows: 1. Style; 2. Ornato; 3. Rilievo; 4. The ornate Classical style; 5. Materials; 6. Ornament; 7. Transformations. "For the reader who already has a firm grasp of the essential arguments about Italian Renaissance aesthetics, this will be an interesting addition to the debate." - The Art Newspaper "É convincing and stimulating.'" - Gabriele Neher, The Art Book (Key Words: Aesthetics. Italian Renaissance Art, Style, Hellmut Wohl, Italy, Federico Zeri, Giorgio Vasari, Sixtus IV, Rome, Francesco Salviati, Raphael, Piero della Francesca, Lorenzo de' Medici, Michelangelo Buonarotti, Masaccio, Leonardo da Vinci, Benozzo Gozzoli, Domenico GhirlandaioFlorence, DonatelloVittore Carpaccio, Filippo Brunelleschi, Sandro Botticelli, Alesso Baldovinetti, Leon Battista Alberti).

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The Aesthetics Of Italian Renaissance Art: A Reconsideration Of Style - WOHL, HELLMUT
Vergriffenes Buch, derzeit bei uns nicht verfügbar.
(*)
WOHL, HELLMUT:
The Aesthetics Of Italian Renaissance Art: A Reconsideration Of Style - gebunden oder broschiert

1999, ISBN: 9780521570640

ID: 186045327

Cambridge University Press, Cambridge: 1999. Hardcover with dustjacket. Very good condition. Name of previous owner appears on front endpaper. In this incisive study, Hellmut Wohl redefines style in the Italian Renaissance in the light of contemporary testimony and close rereadings of seminal works. Through analysis of visual and textual evidence, he posits that Renaissance artists and their viewers conceived of art as decoration of surfaces. Their preferences, which were largely shaped by the ornate style in the classical theory of rhetoric, provide a useful guide to the stylistic variables in Quattrocento and Cinquecento art; to the relationship of narrative, figurative, and decorative elements; and to the link between the arts of painting, sculpture, wood, and marble intarsie, mosaic and stained glass. Offering a new approach to the issue of style, Wohl suggests that the scientific dimensions of early modern art works were less important to contemporaries than their function as decoration and ornamentation. Here is a new approach to defining style in Italian Renaissance art. The contents of this book is as follows: 1. Style; 2. Ornato; 3. Rilievo; 4. The ornate Classical style; 5. Materials; 6. Ornament; 7. Transformations. "For the reader who already has a firm grasp of the essential arguments about Italian Renaissance aesthetics, this will be an interesting addition to the debate." - The Art Newspaper "É convincing and stimulating.'" - Gabriele Neher, The Art Book ISBN: 0521570646., Cambridge University Press, Cambridge: 1999

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