Isbn: 9780878173013 - painting of the high renaissance in rome and florence (8 risultati)

Hardcover. Condizione: Fine. FINE COPIES of the Two Volume Hacker Set. (Hacker Art Books, NY -1985) Location: R25.

Hardcover. Condizione: Fine condition. Newly revised edition. Volume I: Text. Volume II: Plates, illustrated in black-and-white. Bound in publisher's original light orange cloth.

Hardcover. Hacker. Two Volumes. Newly revised edition. 654pp., 700 plates. As new, still in publisher's shrinkwrap.

Two hardcover books without dustjackets as issued; 654 and 514 pages; very good condition; clean and crisp; no internal marks. Foreign shipping may be extra for this item.

Decorative Cloth. Condizione: Very Good. New Edition Revised. 2 volumes. xii, 654; xxxiii, 514 pp., with 700 b/w illustrations. New and revised edition 1985. A few small spots to spine and foxing to top edge of text block. 0878173013 Large 8vo.

hardcover. Condizione: Sehr gut. 1168 Seiten; ACHTUNG! Das Buch kann Kellergeruch haben. M26-BD-18-VG Sprache: Englisch Gewicht in Gramm: 7.

Condizione: gut. 1986. Painting of the High Renaissance in Rome and Florence In englischer Sprache. pages.

Original cloth. Condizione: Gut. Newly revised edition. X, 654 p. A proistine copy. - The material in the text printed in double columns will be of interest primarily to the specialist reader. - From the introduction: The beginnings of the High Renaissance style in painting belong to Leonardo just as unequivocally as its time of fulfillment, in Central Italy, belongs to Raphael and Michelangelo. The first document for the High Renaissance style is Leonardo's, and from his own beginnings: the first fragmentary work in painting that is universally acknowledged to be his, the bead of an angel in the Baptism of Christ of Verrocchio (Florence, Uffizi; c. 1476) contains the essential idea on which the new style would build. This is not an image of transition between two styles except in a literally surface sense: in it an Early Renaissance preciosity of drawing and of finish coexist with its novelty of underlying form. To that novelty, however, there is no avenue of transition; there is no bridge between the style of this head by Leonardo and that of Verrocchios portions of the painting. No near-contemporary experiment prepares Leonardos image, nor is there any evolution toward it we can document in prior work of the young Leonardo himself. Its appearance is more sudden, and less resolvable into the context of art around it, than had been the emergence of the style of Masaccio fifty years before. As in Masaccio, the new identity of Leonardos image results not merely from the novelty of form that we perceive but from the fact that this form is the manifest projection of a new idea; and this idea depends upon a new conception of the nature of art, and of the role of art in the interpretation of nature and of man. ISBN 0878173013 Sprache: Deutsch Gewicht in Gramm: 550.…