hageman mostert (10 risultati)

Hardcover. Condizione: New. Condizione sovraccoperta: None. Illustrated. Illus. cloth, no dj. (as issued). New inn shrink-wrap. In recent years the relations between images and texts have benefitted from an increase in scholarly attention. In medieval studies, art historians, historians, codicologists, philologists and others have applied their methods to the study of illuminated manuscripts and other works of art. These studies have shifted from a concern about the contents of the messages contained in the artefacts (e.g. in iconography) to an interest in the ways in which they were communicated to their intended audiences. The perception of texts and images, their reception by contemporaries and by later generations have become topics in their own right. The analysis of individual manuscripts and works of art remains the basis for any consideration of their transmission and uses. Yet the time has come for an evaluation of the results of recent work on medieval communication. The interactions between non-verbal and verbal forms of communication, more in particular the relations between visual symbols other than writing and the recording of speech in writing, are important for the evaluation of both images and texts. According to some, medieval images may be 'read'. According to others, the perception of images is fundamentally different from that of texts. Do images have a morphology (colours, lines, planes), a syntax and semantics of their own? In other words: do both texts and images have a 'grammar'? Is it useful to speak of 'visual literacy'? Can texts be considered as images? How are texts and images perceived? Do they communicate different kinds of messages? Can an image's message be put into words? In which social contexts does medieval man prefer the visual to the textual? What about the interplay of texts and images (e.g. in rituals and ceremonies)? Do we observe an evolution in the perception of images due to the development of a literate mentality? These are some of the questions discussed in the contributions to this volume.

Condizione: New.

Condizione: As New. Unread book in perfect condition.

Condizione: New.

Paperback. Condizione: Brand New. illustrated edition. 263 pages. 9.50x6.50x1.50 inches. In Stock.

Condizione: As New. Unread book in perfect condition.

Hardcover. X 546 p., 141 b/w ill. 19 colour ill., 160 x 240 mm, Languages: English, Latin, Fine copy. Including an index. ISBN 9782503514376. The interactions between non-verbal and verbal forms of communication, more in particular the relations between visual symbols other than writing and the recording of speech in writing, are important for the evaluation of both images and texts.In recent years the relations between images and texts have benefitted from an increase in scholarly attention. In medieval studies, art historians, historians, codicologists, philologists and others have applied their methods to the study of illuminated manuscripts and other works of art. These studies have shifted from a concern about the contents of the messages contained in the artefacts (e.g. in iconography) to an interest in the ways in which they were communicated to their intended audiences. The perception of texts and images, their reception by contemporaries and by later generations have become topics in their own right. The analysis of individual manuscripts and works of art remains the basis for any consideration of their transmission and uses. Yet the time has come for an evaluation of the results of recent work on medieval communication. The interactions between non-verbal and verbal forms of communication, more in particular the relations between visual symbols other than writing and the recording of speech in writing, are important for the evaluation of both images and texts.According to some, medieval images may be ?read? According to others, the perception of images is fundamentally different from that of texts. Do images have a morphology (colours, lines, planes), a syntax and semantics of their own? In other words: do both texts and images have a ?grammar?? Is it useful to speak of ?visual literacy?? Can texts be considered as images? How are texts and images perceived? Do they communicate different kinds of messages? Can an image?s message be put into words? In which social contexts does medieval man prefer the visual to the textual? What about the interplay of texts and images (e.g. in rituals and ceremonies)? Do we observe an evolution in the perception of images due to the development of a literate mentality? These are some of the questions discussed in the contributions to this volume. 0 g.

Couverture rigide. Condizione: Neuf. Condizione sovraccoperta: Neuf. Edition originale. Studies in Medieval Literacy(USML 8) Reading Images and Texts Medieval Images and Texts as Forms of Communication. Papers from the Third Utrecht Symposium on Medieval Literacy, Utrecht, 7-9 December 2000 M. Hageman, M. Mostert (eds.) X+546 p., 141 b/w ill. + 19 colour ill., 160 x 240 mm, 2005 ISBN: 978-2-503-51437-6 Languages: English, Latin Hardback The publication is available. Retail price: EURO 125,00 In recent years the relations between images and texts have benefitted from an increase in scholarly attention. In medieval studies, art historians, historians, codicologists, philologists and others have applied their methods to the study of illuminated manuscripts and other works of art. These studies have shifted from a concern about the contents of the messages contained in the artefacts (e.g. in iconography) to an interest in the ways in which they were communicated to their intended audiences. The perception of texts and images, their reception by contemporaries and by later generations have become topics in their own right. The analysis of individual manuscripts and works of art remains the basis for any consideration of their transmission and uses. Yet the time has come for an evaluation of the results of recent work on medieval communication. The interactions between non-verbal and verbal forms of communication, more in particular the relations between visual symbols other than writing and the recording of speech in writing, are important for the evaluation of both images and texts. According to some, medieval images may be 'read'. According to others, the perception of images is fundamentally different from that of texts. Do images have a morphology (colours, lines, planes), a syntax and semantics of their own? In other words: do both texts and images have a 'grammar'? Is it useful to speak of 'visual literacy'? Can texts be considered as images? How are texts and images perceived? Do they communicate different kinds of messages? Can an image's message be put into words? In which social contexts does medieval man prefer the visual to the textual? What about the interplay of texts and images (e.g. in rituals and ceremonies)? Do we observe an evolution in the perception of images due to the development of a literate mentality? These are some of the questions discussed in the contributions to this volume. Size: in-4°.

Couverture rigide. Condizione: Neuf. Condizione sovraccoperta: Neuf. Edition originale. Title: FEDERICO BAROCCI : Renaissance Master of Color and Line Author: Mann, Judith W. ; Babette Bohn Price: Euro 250,00 ISBN: 9780300174779 Description: New Haven: Yale University Press, Saint Louis Art Museum, 2012. 28cm., hardcover, 360pp., 214 color illus. Exhibition catalogue. Summary: Federico Barocci (c. 1533/35¿1612) was one of the most innovative Italian artists of the second half of the 16th century. His art combines the Renaissance focus on the human body with an unparalleled use of color and light. He created dynamic compositions that challenged the limitations of traditional pictorial boundaries, becoming a model for Baroque artists of the following century. Nearly 1,500 drawings by Barocci survive, providing invaluable insight into the artist's process and thinking. Essays by leading scholars in the field discuss the role of Urbino¿Barocci's hometown¿in the artist's development; his pioneering approach to religious subjects; his technique as a draftsman; the interdependence of painting and drawing in his work; and his use of red underpaint. Catalogue entries treat nineteen groups of paintings and drawings, including many previously unpublished sheets. This beautiful and groundbreaking book reveals the breadth and significance of Barocci's oeuvre.

Turnhout, Brepols, 2005. x,563 pp. (with 19 col.plates). Bound. (USML.8) - a few contributions in french.