9780521815765 - the revival of the olympian gods in renaissance art di freedman, luba (10 risultati)
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Da: RT Books, Wexford, PA, U.S.A.RT Books
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Hardcover. Condizione: Very Good. Condizione sovraccoperta: Very Good. 1st Edition. PUBLISHER: Cambridge University Press DATE/EDITION: 2003, states first published in 2003. BINDING: Hardbound, 301 pages. DUST JACKET: Very good, clean and bright with no rips. BOOK CONDITION: Very good, clean, unmarked text, tight binding. DESCRI…PTION: Illustrated.
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Da: Zed Books, New York, NY, U.S.A.Zed Books
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Hardcover. Condizione: Fine. Condizione sovraccoperta: Fine. First Edition. First printing. 8vo. 301 pp. Fine in Fine dust jacket.
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Da: J. HOOD, BOOKSELLERS, ABAA/ILAB, Baldwin City, KS, U.S.A.J. HOOD, BOOKSELLERS, ABAA/ILAB
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Hardcover. 301pp. From the library of archaeologist and art historian Karl Kalinski II. Dr. Kalinski's signature and date else as new in a bright and crisp dust jacket which is now in a clear protective mylar sleeve.
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Da: Ancient World Books, Toronto, ON, CanadaAncient World Books
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Hardcover. Condizione: Near Fine. Condizione sovraccoperta: Very Good. Light edgewear along top edge of DJ. Very faint shelfwear to book else fine.; This book deals specifically with sixteenth-century depictions of the Olympian deities, the twelve supreme deities of ancient Greece and Rome. As the Renaissance revived several asp…ects of antiquity, some great works of art represented the Olympians in imitation of the classical style. These deities were rendered as autonomous figures, in the form of representation adapted for depicting saints and Christian rulers. This form of depicting the Olympians, or the pagan gods, was not unanimously accepted by sixteenth-century viewers. The book highlights the problematic framework surrounding the creation, display and acceptance of such thought-provoking works of art.; 9.7 X 7.2 X 1.0 inches; 318 pages.
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Da: Librakons Rare Books and Collectibles, Istanbul, TurchiaLibrakons Rare Books and Collectibles
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Hardcover. Condizione: Fine. First Edition. 301pp., 25.0x18.0cm., in English.
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Da: Scrinium Classical Antiquity, Aalten, Paesi BassiScrinium Classical Antiquity
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Cambridge University Press, Cambridge (.), 2003. XV,301p. Richly ills.(B&W photographs and line drawings). Original hard bound with pictorial dust wrappers. Dust wrappers to upper edge slightly edge worn. Nice copy. ?This useful book examines the context in which Italian Renaissance artists first began to represent the twelve Ol…ympian deities as autonomous lifelike figures in the classical style. As Freedman demonstrates, this particular phenomenon (?) was is fact quite significant. (?) Medieval representations of an autonomous figure (?) had been reserved almost exclusively for Christian saints and rulers. In the Cinquecento (the period of focus in this book) artists created autonomous, lifelike representations of Olympian deities for the first time in antiquity. These ?Olympian? deities, Freedman shows, were represented in the Renaissance in their Roman incarnations - as Jupiter, Juno, Neptune, Apollo, Diana, Mercury, Venus, Mars, Minerva, Ceres, Bacchus, and Vulcan. This revival of images of autonomous Olympian figures served the artists who created them and the patrons who commissioned them well. For artists (?), these works served as demonstration pieces of their skills when they were first attempting to establish a name for themselves. Once established, these artists continued to create such works to display their specialised knowledge as well as their talent and ingenuity in rendering their creations in a mode that closely approximated that of their ancient predecessors. For patrons, these images served to augment their power precisely during the period when Italy was under the political and military hegemony of Emperor Charles V. Further, as Freedman argues, the types of patrons for these Cinquecento images of deities were the same as those who commissioned such works in antiquity: the ruling elite and their circles. (?) Unlike their predecessors, however, these patrons were always secular and the images they commissioned were always meant for secular spaces. Although ecclesiastics collected antique statues (?) they seldom purchased or commissioned the contemporary images of Olympia deities under consideration here. (?) Freedman argues that in order to address this fact, artists attempted to mitigate the pagan connotations of their figures by secularising them, by transforming them from gods into allegories of power and virtue. To do so they turned away from the visual traditions fount in ancient coins, gems, and cult statues and turned instead to ancient literary representations of these deities. Informed by Pliny?s Natural History and Pausanias?s Guide to Greece, Renaissance artists chose to represent the Olympian deities as actors in Greek and roman mythical dramas and comedies, not as iconic incarnations of the all-powerful pagan gods that ancient sculptures in particular had represented them to be. In these images, she claims, Renaissance artists broke with the ?static calm? their predecessors employed to depict these deities and introduced to their depictions pronounced facial expressions, poses, and gestures. (?) Ultimately, Freedman argus that there were two ways in which these images of the Olympians were received. The first was by humanists who viewed them as contemporary versions of artistic masterpieces by the eminent artist of antiquity. In other words, humanists who viewed these works as important for their artistic, not pagan, meaning. The second was by ecclesiastics who viewed them as images of false deities. It was the second view, she concludes, that prevailed by the end of the Renaissance. As a result, the end of the cinquecento also marked the end of the production of images of autonomous lifelike Olympians. Intent upon taking nothing for granted when considering a topic that may seem all too well understood, Freedman considers every aspect of it carefully. (?) She contributes to our understanding of the significance of these images for artists and patrons alike.? (PATRICIA L. REILLY in Renaissance Quarterly, 2004, pp.1385-1387).
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Da: Phatpocket Limited, Waltham Abbey, HERTS, Regno UnitoPhatpocket Limited
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Condizione: Acceptable. Used - Acceptable. Dust cover damaged. Your purchase helps support Sri Lankan Children's Charity 'The Rainbow Centre'. Ex-library with wear and barcode page may have been removed. Our donations to The Rainbow Centre have helped provide an education and a safe haven to hundreds of children who live in appa…lling conditions.
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Da: Widney Manor Books, solihull, MIDLA, Regno UnitoWidney Manor Books
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Hardcover. Condizione: Very Good. Book is in very good condition. Dust jacket in good condition with a couple of tears. 310pp with b/w illustrations.
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Da: Antiquariat Rohde, Hamburg, GermaniaAntiquariat Rohde
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Pp. Condizione: Gut. 301 Seiten ; Ill. ; Sprache: Englisch guter Zustand, leicht schief, leichte Lagerspuren und Randläsuren, am Schutzumschlag, Bleistiftnotiz im Vorsatz Sprache: Englisch Gewicht in Gramm: 910.
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Da: Borkert, Schwarz und Zerfaß GbR, Berlin, GermaniaBorkert, Schwarz und Zerfaß GbR
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EUR 97,00
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Hardcover with dustjacket. Condizione: Gut. XV, 301 p.: Ill. Schutzumschlag leicht berieben und mit Randläsuren und kleinen Einrissen, sonst ein gutes Exemplar / dust jacket slightly rubbed and with marginal wear and small tears, otherwise a good copy. - In this study, Luba Freedman examines the revival of the twelve Olympian de…ities in the visual arts of sixteenth-century Italy. Renaissance representations of the Olympians as autonomous figures in paintings, sculp' ture, and drawing were not easily integrated into a Christian society. While many patrons and artists venerated the ancient artworks for their artistic qualities, others, nourished by religious beliefs, felt compelled to adapt ancient representations to Christian subjects. These conflicting attitudes influenced the representation of deities intentionally made all'antica, often resulting in an interweaving of classical and nonclassical elements that is alien to the original, ancient sources. The study, the first devoted to this problem, highlights how problematic it was during the Cinque- cento to display and receive images of pagan gods, whether shaped by ancient or contemporary artists. It offers new insights into the uneven absorption of the classical heritage during the early modern era. / CONTENTS List of Illustrations Acknowledgments Introduction PART 1: OUTLINING A CINQUECENTO PHENOMENON 1 Terms and Concepts 2 Components of the Phenomenon PART II: DISCOVERIES AND THEIR IMPACT 3 Olympian Deities in Ancient Sculpture 4 Ancient Testimonies 5 Literary Descriptions 6 The Question of Revival PART III: CINQUECENTO WORKS OF ART 7 Classical Elements 8 Nonclassical Elements 9 The Conflict in Cinquecento Schools of Thought Notes Frequently Cited Modern Sources Index. ISBN 9780521815765 Sprache: Englisch Gewicht in Gramm: 873.
