freedman luba (63 resultados)

Hardcover. Condición: Very Good. Estado de la sobrecubierta: 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. DESCRIPTION: Illustrated.

Condición: Fair. Volume 1. This is an ex-library book and may have the usual library/used-book markings inside.This book has hardback covers. In fair condition, suitable as a study copy. No dust jacket. Please note the Image in this listing is a stock photo and may not match the covers of the actual item,550grams, ISBN:0820410136.

Hardcover. Condición: Used-Very Good. Cloth, dj. Minor shelf wear. Publisher's remainder mark on top edge of text block. Else a bright, clean copy.

Brossura. Condición: new. English Text.Firenze, 1990; paperback, pp. 128, 35 b/w ill., cm 15x21.(Pocket Library of Studies in Art. 26). Libro.

Reprint, stapled. Condición: Gut. pp. 83-102, 8 fig. From the library of Prof. Wolfgang Haase, long-time editor of ANRW and the International Journal of the Classical Tradition (IJCT). - Author's name underlined, otherwise very good and clean. - From the text: The Italian Renaissance witnessed a revival of autonomous representations of pagan deities in large-scale statues and paintings. For the first time since the end of the classical era, artists depicted life-sized figures of the pagan gods phenomenon is hard to overestimate when one considers the fact that the earliest Renaissance depictions of Greco-Roman deities appeared several decades before systematic searches for ancient works of art were initiated and before most artists were expected to begin their apprenticeship by imitating works of classical antiquity. In fact, the rekindled interest in representations of mythological deities, seen independently of mythic fables, heralded the beginning of a new era in art, which Giorgio Vasari called the terza età. Between the years 1498 and 1511, Michelangelo, Jacopo Sansovino, and Raphael each shaped all'antica an image of Bacchus or Apollo. Though the individual works have been carefully studied, they have never been considered collectively. Seen as a group, the Renaissance depictions of Greco-Roman deities appear elusively classical. Closer scrutiny, however, reveals that they have an important feature in common, a feature that is strikingly novel. This feature is the vivid facial expression; it constitutes a sign of "modernity" in the Renaissance depictions of Greco-Roman deities. The very idea of these deities, especially when disconnected from other figures, bearing highly expressive faces is alien to the classical spirit. The facial expressions of the newly fashioned deities evince a non-classical source of inspiration. Indeed, they seem to be inspired by certain Christian protagonists. An explanation of this specific non-classical feature in the Renaissance representations of Bacchus and of Apollo forms the subject of the present paper. Sprache: Englisch Gewicht in Gramm: 550.

Condición: New.

Condición: New.

Condición: As New. Unread book in perfect condition.

Reprint. Condición: Gut. pp. 323-336, 14 fig. From the library of Prof. Wolfgang Haase, long-time editor of ANRW and the International Journal of the Classical Tradition (IJCT). - With dedication by the author. - Text block lying in folding cardboard, cardboard rubbed, author's name handwritten on cover, otherwise very good and clean. - From the text: In describing the temple frescoes in the fabulous Arcadia, Jacopo Sannazaro mentions one on the subject of the Judgment of Paris. His description of this fresco is worth quoting in full: «But what was no less ingenious to the judgment than pleasurable to the eye was the circumspection of the prudent painter who, having made Juno and Minerva of such exceeding beauty that it would have been impossible to surpass them, and mistrusting his ability to make Venus as beautiful as necessity required, had painted her with her back turned, thus with shrewdness excusing his insufficiency» (Arcadia, III). In this picturing of Venus from the back, Sannazaro saw the trick of a skillful artist who suggests still greater perfection than that he had already portrayed by turning the figure away from the spectator, thus appealing to the spectator's imagination to supplement what is depicted by the painter. Sprache: Englisch Gewicht in Gramm: 550.

Condición: New. In.

Paperback. Condición: New. First Edition. In new condition: firm and square with strong joints, no creases. Looks and feels unread. Thus the contents are crisp, fresh and tight. And so a very nice book in great condition, now offered for sale at a reasonable price.

Hardcover. Condición: Wie neu. first edition. quart hardcover. wie neu - as new. ungelesen, wie neu; gebundene ausgabe, weinrotes, sgoldgeprägtes original-leinen mit illustr. schutzumschlag, farbige vorsätze, 213 seiten mit 61 abbildungen // unread, like new; hardcover edition, burgundy, gilt-stamped original cloth with illustrated dust jacket, color endpapers, 213 pages with 61 illustrations /D1121.

Condición: New.

Paperback. Condición: New.

Brossura. Condición: libro nuovo. Testo inglese. Cm.21x14,7. Pg.128. Brossura editoriale. 35 illustrazioni nel testo. Collezione "Pocket Libray of Studies in Art", n°26. 280 gr.

Condición: Gut. 213 S. Ein gutes und sauberes Exemplar. - LUBA FREEDMAN: The Poesia: Ovid, Ariosto, and Titian on ,The Heroic Liberation of the Maiden' -- AMY GOLAHNY: Rembrandt's Europa, in and out of Pictorial and Textual Tradition -- LIANA DE GIROLAMI CHENEY: Edward Burne-Jones' Cupid and Psyche: The Enchantment of an Ancient Tale -- EDWARD J. OLSZEWSKI: Framing the Moral Lesson in Pollaiuolo's Hercules and Antaeus -- SARAH BLAKE MCHAM: The Role of Pliny's Natural History in the Sixteenth-Century Redecoration of the Piazza San Marco, Venice -- FRIEDRICH POLLEROSS: Rector Marium or Pater Patriae? The Portraits of Andrea Doria as Neptune -- JOHN CUNNALLY: The Portable Pantheon: Ancient Coins as Sources of Mythological Imagery in the Renaissance -- GERLINDE HUBER-REBENICH: Die Macht der Tradition. Metamorp^osewTllustrationen im späten 16. und frühen 17. Jahrhundert -- HERMANN WALTER: Luca Giordano und die Illustrierung der Metamorphosen des Ovid in der Druckgraphik des 16. und 17. Jahrhunderts -- HANS-JÜRGEN HORN: Eine neue Verwandlung der Verwandlungen. ISBN 9783786124191 Sprache: Englisch Gewicht in Gramm: 783 Mit zahlr. Abb. Originalleinen mit Schutzumschlag.

Cloth. Condición: Fine Condition. Estado de la sobrecubierta: Fine Condition. 268 pages 156 illustrations in color. Edited by Mary E. Frank and Blake de Maria. Bibliography. Book.

Hardcover. Condición: Fine. Estado de la sobrecubierta: Fine. First Edition. First printing. 8vo. 301 pp. Fine in Fine dust jacket.

Jan 01, 2001. Condición: gebraucht; wie neu.

Condición: As New. Unread book in perfect condition.

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.

Condición: New. pp. 320 1st Edition.

Hardcover. Condición: Near Fine. Estado de la sobrecubierta: 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 aspects 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.

Paperback. Condición: Brand New. 1st edition. 320 pages. 9.75x6.75x0.75 inches. In Stock.

Condición: Gut. 213 S. Titelblatt mit handschriftlicher Widmung der Herausgeberin Luba Friedman für Prof. Wolfgang Haase, sehr gutes und sauberes Exemplar. - LUBA FREEDMAN: The Poesia: Ovid, Ariosto, and Titian on ,The Heroic Liberation of the Maiden' -- AMY GOLAHNY: Rembrandt's Europa, in and out of Pictorial and Textual Tradition -- LIANA DE GIROLAMI CHENEY: Edward Burne-Jones' Cupid and Psyche: The Enchantment of an Ancient Tale -- EDWARD J. OLSZEWSKI: Framing the Moral Lesson in Pollaiuolo's Hercules and Antaeus -- SARAH BLAKE MCHAM: The Role of Pliny's Natural History in the Sixteenth-Century Redecoration of the Piazza San Marco, Venice -- FRIEDRICH POLLEROSS: Rector Marium or Pater Patriae? The Portraits of Andrea Doria as Neptune -- JOHN CUNNALLY: The Portable Pantheon: Ancient Coins as Sources of Mythological Imagery in the Renaissance -- GERLINDE HUBER-REBENICH: Die Macht der Tradition. Metamorp^osewTllustrationen im späten 16. und frühen 17. Jahrhundert -- HERMANN WALTER: Luca Giordano und die Illustrierung der Metamorphosen des Ovid in der Druckgraphik des 16. und 17. Jahrhunderts -- HANS-JÜRGEN HORN: Eine neue Verwandlung der Verwandlungen. ISBN 9783786124191 Sprache: Englisch Gewicht in Gramm: 783 Mit zahlr. Abb. Originalleinen mit Schutzumschlag.

Condición: Gut. XVI, 215 Seiten / p., Abb. Aus der Bibliothek von Prof. Wolfgang Haase, langjährigem Herausgeber der ANRW und des International Journal of the Classical Tradition (IJCT) / From the library of Prof. Wolfgang Haase, long-time editor of ANRW and the International Journal of the Classical Tradition (IJCT). - Widmung des Autors an Wolfgang Haase / Dedication of the author to Wolfgang Haase - After classical antiquity, the Italian Renaissance raised the portrait, whether literary or pictorial, to the status of an important art form. Among sixteenth-century Renaissance painters, Titian made his reputation, and much of his living, by portraiture. Titian's portraits were promoted by his friend, Pietro Aretino, an eminent poet and critic, who addressed his letters and sonnets to the same personages Titian portrayed. In many of these letters ( which often included sonnets ) , Aretino described both an individual patron and Titian's portrait of that patron, thus stimulating the reciprocal relation between a verbal and pictorial portrait. By investigating this unprecedented historical phenomenon, Luba Freedman elucidates the meaning conveyed by the portrait as an artistic form in Renaissance Italy. -- Fusing iconographical analysis of the most famous Titian portraits with rhetorical analysis of Aretino's literary legacy as compared to contemporary reactions, Freedman demonstrates that it is due to Titian's many portraits and to Aretino's repeated simultaneous writings about them that the portrait ceased being primarily a social-historical document, preserving the sitter's likeness for posterity. It gradually became, as it is today, a work of art, the artist's invention, which gives its viewer an aesthetic pleasure. ISBN 9780271013398 Sprache: Englisch Gewicht in Gramm: 1192 Original Leinen kaschiert mit Schutzumschlag / Cloth with dust jacket.

Condición: VG. Castello 1990. Pocket Library of Studies in Art XXVI. Sm.8vo., 126pp., numerous photo illus., wraps. owner signed. slight bump to extreme tips of top right side throughout. VG.

Hardcover. Condición: Fine. First Edition. 301pp., 25.0x18.0cm., in English.

Hardcover. Condición: Fine. Estado de la sobrecubierta: Fine. 1st Edition. Qto., xvi, 215 pages, illustrated. A Fine copy in dust jacket.

Hardcover. First Edition. 22 x 29cm 215pp includes over 60 black and white reproductions together with essays including: 'Aretino as the Poet of Titian's Portraits'. Near fine in near fine dustjacket.