A pioneering overview of art and psychoanalysis that shows how each field can enrich and enlarge the other.

This book focuses on key monuments of the Baroque style, which varies in different European contexts. It is intended to affirm the existence of individual genius, identifiable styles of art, and historical periods that produced them.

Organized chronologically from early Renaissance precursors to the Mannerist movement, from Giotto to Titian, Key Monuments of the Italian Renaissance describes and analyzes in depth from various points of view major works and major artists, from the fourteenth to the sixteenth centuries. Artists included are Cimabue, Duccio, Giotto, Lorenzetti, Gh

"The chronology of the Italian Renaissance, its character, and context have long been a topic of discussion among scholars. Some date its beginnings to the fourteenthcentury work of Giotto, others to the generation of Masaccio, Brunelleschi, and Donatello that fl ourished from around 1400. The close of the Renaissance has also proved elusive. Mannerism, for example, is variously considered to be an independent (but subsidiary) late aspect of Renaissance style or a distinct style in its own right."

Organized chronologically from early Renaissance precursors to the Mannerist movement, from Giotto to Titian, Key Monuments of the Italian Renaissance describes and analyzes in depth from various points of view major works and major artists, from the fourteenth to the sixteenth centuries. Artists included are Cimabue, Duccio, Giotto, Lorenzetti, Ghiberti, Brunelleschi, Donatello, Massaccio, Gentile da Fabriano, Uccello, Rossellino, Castagno, Piero della Francesca, Alberti, Botticelli, G. Bellini, Verrocchio, Mantegna, G. Sangallo, Leonardo, Michelangelo, Bramante, Raphael, Giorgione, and Titian. The Florentine Renaissance, the High Renaissance in Florence and Rome, and High Renaissance Painting in Venice are covered. Includes a glossary, a bibliography of works cited, and suggested readings.

This book focuses on key monuments of the Baroque style, which varies in different European contexts. It is intended to affirm the existence of individual genius, identifiable styles of art, and historical periods that produced them.

Since the nineteenth century, when art history became an established academic discipline, works of art have been 'read' in a variety of ways. These different ways of describing and interpreting art are the methodologies of artistic analysis, the divining rods of meaning. Regardless of a work's perceived difficulty, an art object is, in theory, complex. Every work of art is an expression of its culture (time and place) and its maker (the artist) and is dependent on its media (what it's made of). The methodologies discussed here (formal analysis, iconology and iconography, Marxism, feminism, biography and autobiography, psychoanalysis, structuralism, race and gender) reflect the multiplicity of meanings in an artistic image. The second edition includes nineteen new images, new sections on race, gender, orientalism, and colonialism, and a new epilogue that analyzes a single painting to illustrate the different methodological viewpoints.

0-06-430231-8 the Methodologies of Art: an Introduction 0-8133-3429-2 Key Monuments of the Italian Renaissance 0-8133-3430-6 Key Monuments of the Baroque 0-8133-3691-0 Italian Renaissance Art

Since the nineteenth century, when art history became an established academic discipline, works of art have been "read" in a variety of ways. These different ways of describing and interpreting art are the methodologies of artistic analysis, the divining rods of meaning. Regardless of a work's perceived difficulty, an art object is, in theory, complex. Every work of art is an expression of its culture (time and place) and its maker (the artist) and is dependent on its media (what it's made of). The methodologies discussed here--formal analysis, iconology and iconography, Marxism, feminism, biography and autobiography, psychoanalysis, structuralism, race and gender--reflect the multiplicity of meanings in an artistic image. The second edition includes nineteen new images, new sections on race, gender, orientalism and colonialism, along with a new epilogue that approaches a single painting to illustrate the different methodological viewpoints.
Contents
1. What Is Art?
2. Formalism and Style
3. Iconography
4. Contextual Approaches I: Marxism, Orientalism, Colonialism, and Racial Iconography
5. Contextual Approaches II: Feminism and Gender
6. Biography and Autobiography
7. Semiotics I: Structuralism and Post-Structuralism
8. Semiotics II: Deconstruction
9. Psychoanalysis I: Freud
10. Psychoanalysis II: Winnicott and Lacan
11. Aesthetics and Psychoanalysis: Roger Fry and Roland Barthes

Art has existed for as long as humankind, but defining it is famously difficult. In this whirlwind tour spanning from prehistory up to the present day and beyond, Laurie Schneider Adams explores how art, and our views on it, have evolved. Delving into fascinating issues such as why some artworks can be so controversial, why a forgery can never be as "good" as the original, and what the future of art may hold, this beautifully crafted introduction provides a definitive overview of Western artistic tradition. Also providing a helpful guide to understanding art terminology and to reading artworks for meaning, Art: A Beginner's Guide is an essential tool for every budding art critic.

Munch's "The Scream." Van Gogh's "Starry Night." Rodin's "The Thinker." Monet's "Water Lilies." Constable's landscapes. The 19th century gave us a wealth of artistic riches so memorable in their genius that we can picture many of them in an instant. At the time, however, their avant-garde nature was the cause of much controversy. Professor Laurie Schneider Adams vividly brings to life the paintings, sculpture, photography and architecture, of the period with her infectious enthusiasm for art and detailed explorations of individual works. Offered fascinating biographical details and the relevant social, political, and cultural context, the reader is left with a deep appreciation for the works and an understanding of how revolutionary they were at the time, as well as the reasons for their enduring appeal.

"The chronology of the Italian Renaissance, its character, and context have long been a topic of discussion among scholars. Some date its beginnings to the fourteenthcentury work of Giotto, others to the generation of Masaccio, Brunelleschi, and Donatello that fl ourished from around 1400. The close of the Renaissance has also proved elusive. Mannerism, for example, is variously considered to be an independent (but subsidiary) late aspect of Renaissance style or a distinct style in its own right."

Lucrezia Tornabuoni de' Medici and the Medici Family in the Fifteenth Century is a fresh, new biography of a Renaissance woman who lived during the heyday of Medici power. A remarkable person in her own right, the author of religious poems and sacred narratives, as well as an accomplished businesswoman, Lucrezia was the mother of Lorenzo the Magnificent, the grandmother of two popes, and the great-great grandmother of Catherine de' Medici, Queen of France. This glimpse of her life and times is a window onto the political intrigues and intellectual achievements of Medici Florence.

The book deals with Piero's Arezzo frescoes, explaining their unprecedented iconography and arrangement from the point of view of liturgy in the Eastern and Western Churches at a time when efforts to repair the schism were underway. It also discusses visual parallelism, the inclusion of the Annunciation, the meaning of the pilaster figures, and the relevance of the Crusades, all of which inform the artist's iconography.