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First published in 1998. Routledge is an imprint of Taylor &
Francis, an informa company.
During the later 15th and in the 16th centuries pictures began to
be made without action, without place for heroism, pictures more
rueful than celebratory. In part, Renaissance art adjusted to the
social and economic pressures with an art we may be hard pressed to
recognize under that same rubric-an art not so much of perfected
nature as simply artless. Granted, the heroic and epic mode of the
Renaissance was that practiced most self-consciously and proudly.
Yet it is one of the accomplishments of Renaissance art that heroic
and epic subjects and style occasionally made way for less
affirmative subjects and compositional norms, for improvisation
away from the Vitruvian ideal. The limits of idealizing art, during
the very period denominated as High Renaissance, is a topic that
involves us in the history of class prejudice, of gender
stereotypes, of the conceptualization of the present, of attitudes
toward the ordinary, and of scruples about the power of sight
Exploring the low style leads us particularly to works of art
intended for display in private settings as personally owned
objects, potentially as signs of quite personal emotions rather
than as subscriptions to publicly vaunted ideologies. Not all of
them show shepherds or peasants; none of them-not even Giorgione's
"La tempesta"-is a classic pastoral idyll. The"rosso stile" is to
be understood as more comprehensive than that. The issue is not
only who is represented, but whether the work can or cannot be fit
into the mold of a basically affirmative art.
Why did Renaissance art come to matter so much, so widely, and for
so long? Patricia Emison's answer depends on a recalibrated view of
the long Renaissance from 1300 to 1600 synthesizing the
considerable evolution in our understanding of the epoch since the
foundational 19th-century studies of Burckhardt and Wolfflin.
Demonstrating that the imitation of nature and of antiquity must no
longer define its limits, she exposes Renaissance style's
self-consciously modern aspect. She sets the art against the
literary and political interests of the time, and analyzes works
both of very familiar artists Leonardo, Michelangelo, and Raphael
and of lesser-known figures, including Cima and Barocci. An
understanding emerges of both the period's long-standing fame and
its various historical debts. Moving beyond the Renaissance, Emison
unfolds the varying and layered significance it has held from the
Old Master era through Impressionism, Modernism, and
Post-Modernism.
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Leonardo (Paperback)
Patricia Emison
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R230
R184
Discovery Miles 1 840
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The latest addition to Phaidon's best-selling Colour Library series
of affordable introductory books on the great masters and movements
in art features all of Leonardo' da Vinci's painted works and a
detailed illustrated introduction.
In this provocative book, Patricia Emison invites the reader to
consider and reconsider how past thinkers--from Pliny and Alberti
to Freud and Fried--have conceptualized the history of Western art.
What a book review attempts to be for a book, this extended essay
attempts to be for several hundred years' worth of books in a
field: an indicator of problems with the old attempts and hopes for
the new ones. It is a defense of art history for those outside the
field who question its reliability or even its importance; it is a
critique of art history for those in the field who may have been
preoccupied with looking at trees but who might be interested in
trying to see the forest.
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