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  1. The self-aware image
    an insight into early modern metapainting
    Beteiligt: Pericolo, Lorenzo (Vorr.)
    Erschienen: 2015
    Verlag:  Harvey Miller, London [u.a.]

    The notion of the painting as an art object is a relatively recent invention. This book offers an impressive and complex account of the origins and development of this invention from the late Renaissance through the end of the baroque age. In... mehr

    Staatliche Museen zu Berlin, Preußischer Kulturbesitz, Kunstbibliothek
    uneingeschränkte Fernleihe, Kopie und Ausleihe

     

    The notion of the painting as an art object is a relatively recent invention. This book offers an impressive and complex account of the origins and development of this invention from the late Renaissance through the end of the baroque age. In comparison to the "old" image characterized by its preeminently liturgical function and its display in a predetermined space, the painting as the "new" image is increasingly autonomous and movable. As a modern art object, the painting becomes the focus of an aesthetic contemplation through its insertion into a gallery or a collection. As a result of the Protestant iconoclasm and the advancement of scientific knowledge, the essence and role of the image is put into question and thematized not only by theologians and scholars, but especially by artists. The painting thus becomes a field of visual experimentation in which art reflects on itself, its potential, its limits, its truth, and its nothingness. The representation of windows, doors, niches, mirrors, and paintings enable artists to embed the image within the image, to "frame" the fictiveness of the image in order to deceive, puzzle, and challenge the beholder. The pictorial devices through which artists introduce their authorial self into the image and stage the making of the image itself form the foundation of a new poetics: the poetics of metapainting "The notion of the painting as an art object is a relatively recent invention. This book offers an impressive and complex account of the origins and development of this invention from the late Renaissance through the end of the baroque age. In comparison to the "old" image characterized by its preeminently liturgical function and its display in a predetermined space, the painting as the "new" image is increasingly autonomous and movable. As a modern art object, the painting becomes the focus of an aesthetic contemplation through its insertion into a gallery or a collection. As a result of the Protestant iconoclasm and the advancement of scientific knowledge, the essence and role of the image is put into question and thematized not only by theologians and scholars, but especially by artists. The painting thus becomes a field of visual experimentation in which art reflects on itself, its potential, its limits, its truth, and its nothingness. The representation of windows, doors, niches, mirrors, and paintings enable artists to embed the image within the image, to "frame" the fictiveness of the image in order to deceive, puzzle, and challenge the beholder. The pictorial devices through which artists introduce their authorial self into the image and stage the making of the image itself form the foundation of a new poetics: the poetics of metapainting"--

     

    Export in Literaturverwaltung   RIS-Format
      BibTeX-Format
    Hinweise zum Inhalt
    Quelle: Verbundkataloge
    Beteiligt: Pericolo, Lorenzo (Vorr.)
    Sprache: Englisch
    Medientyp: Buch (Monographie)
    Format: Druck
    ISBN: 1909400114; 9781909400115
    RVK Klassifikation: LH 70060 ; LH 70350
    Auflage/Ausgabe: New, improved, and updated ed.
    Schriftenreihe: Harvey Miller studies in Baroque art
    Schlagworte: Painters; Painting, Renaissance; Painting, Modern; Metacognition
    Umfang: 337 S., zahlr. Ill.
  2. The self-aware image
    an insight into early modern metapainting
    Beteiligt: Pericolo, Lorenzo (Vorr.)
    Erschienen: 2015
    Verlag:  Harvey Miller, London [u.a.]

    The notion of the painting as an art object is a relatively recent invention. This book offers an impressive and complex account of the origins and development of this invention from the late Renaissance through the end of the baroque age. In... mehr

    Staatliche Museen zu Berlin, Preußischer Kulturbesitz, Kunstbibliothek
    ::8:2015:6232:
    keine Fernleihe
    Historisches Museum, Bibliothek
    K 1752 - B
    keine Ausleihe von Bänden, nur Papierkopien werden versandt
    Staatliche Hochschule für Bildende Künste, Städelschule, Bibliothek
    Magazin 14.50 2015
    keine Ausleihe von Bänden, nur Papierkopien werden versandt
    Staats- und Universitätsbibliothek Hamburg Carl von Ossietzky
    B/160382
    uneingeschränkte Fernleihe, Kopie und Ausleihe
    Universitätsbibliothek Heidelberg
    2015 D 2873
    uneingeschränkte Fernleihe, Kopie und Ausleihe
    Thüringer Universitäts- und Landesbibliothek
    KUN:EA:2000:a::2015
    uneingeschränkte Fernleihe, Kopie und Ausleihe
    Diözesanbibliothek Münster
    SLG 26909
    uneingeschränkte Fernleihe, Kopie und Ausleihe
    Germanisches Nationalmuseum, Bibliothek
    keine Ausleihe von Bänden, nur Papierkopien werden versandt
    Württembergische Landesbibliothek
    65a/2085
    uneingeschränkte Fernleihe, Kopie und Ausleihe

     

    The notion of the painting as an art object is a relatively recent invention. This book offers an impressive and complex account of the origins and development of this invention from the late Renaissance through the end of the baroque age. In comparison to the "old" image characterized by its preeminently liturgical function and its display in a predetermined space, the painting as the "new" image is increasingly autonomous and movable. As a modern art object, the painting becomes the focus of an aesthetic contemplation through its insertion into a gallery or a collection. As a result of the Protestant iconoclasm and the advancement of scientific knowledge, the essence and role of the image is put into question and thematized not only by theologians and scholars, but especially by artists. The painting thus becomes a field of visual experimentation in which art reflects on itself, its potential, its limits, its truth, and its nothingness. The representation of windows, doors, niches, mirrors, and paintings enable artists to embed the image within the image, to "frame" the fictiveness of the image in order to deceive, puzzle, and challenge the beholder. The pictorial devices through which artists introduce their authorial self into the image and stage the making of the image itself form the foundation of a new poetics: the poetics of metapainting "The notion of the painting as an art object is a relatively recent invention. This book offers an impressive and complex account of the origins and development of this invention from the late Renaissance through the end of the baroque age. In comparison to the "old" image characterized by its preeminently liturgical function and its display in a predetermined space, the painting as the "new" image is increasingly autonomous and movable. As a modern art object, the painting becomes the focus of an aesthetic contemplation through its insertion into a gallery or a collection. As a result of the Protestant iconoclasm and the advancement of scientific knowledge, the essence and role of the image is put into question and thematized not only by theologians and scholars, but especially by artists. The painting thus becomes a field of visual experimentation in which art reflects on itself, its potential, its limits, its truth, and its nothingness. The representation of windows, doors, niches, mirrors, and paintings enable artists to embed the image within the image, to "frame" the fictiveness of the image in order to deceive, puzzle, and challenge the beholder. The pictorial devices through which artists introduce their authorial self into the image and stage the making of the image itself form the foundation of a new poetics: the poetics of metapainting"--

     

    Export in Literaturverwaltung   RIS-Format
      BibTeX-Format
    Hinweise zum Inhalt
    Quelle: Verbundkataloge
    Beteiligt: Pericolo, Lorenzo (Vorr.)
    Sprache: Englisch
    Medientyp: Buch (Monographie)
    Format: Druck
    ISBN: 1909400114; 9781909400115
    RVK Klassifikation: LH 70060 ; LH 70350
    Auflage/Ausgabe: New, improved, and updated ed.
    Schriftenreihe: Harvey Miller studies in Baroque art
    Schlagworte: Painters; Painting, Renaissance; Painting, Modern; Metacognition
    Umfang: 337 S., zahlr. Ill.