9780271071039 - Painting as Medicine in Early Modern Rome: Giulio Mancini and the Efficacy of Art de Gage, Frances (18 resultados)

Condición: New. Dimension: 267 x 213 x 27. Weight in Grams: 1280. . 2016. hardcover. . . . . Books ship from the US and Ireland.

Condición: New. Dimension: 267 x 213 x 27. Weight in Grams: 1280. . 2016. hardcover. . . . .

Condición: Good. Most items will be dispatched the same or the next working day. A copy that has been read but remains in clean condition. All of the pages are intact and the cover is intact and the spine may show signs of wear. The book may have minor markings which are not specifically mentioned.

Hardcover. Condición: Fine. Estado de la sobrecubierta: Fine. First Edition. Hardcover in dust jacket. First printing. Book and jacket are in Fine, unblemished, As New condition, with a crinkle still to the pages when they are turned. The thesis of the book is that art in domestic life can create healthy bodies, minds, and societies through the mechanism of the imagination. Beautiful color plates throughout. 4to. 228 pp. including index.

Hardcover. Condición: Like New. Estado de la sobrecubierta: as new. Factory sealed. 48 color and 18 black-and-white illustrations. Measures 8x10 inches. An account of how medicine and painting coincided in the thought of Mancini and his contemporaries based on in-depth study of the writings of the physician and art critic Giulio Mancini. This includes unpublished treatises as well as contemporary documents.

Condición: Very Good. Pages intact with possible writing/highlighting. Binding strong with minor wear. Dust jackets/supplements may not be included. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.

Condición: As New. Unread book in perfect condition.

Condición: New.

Condición: New. Brand New.

HRD. Condición: New. New Book. Shipped from UK. Established seller since 2000.

Hardback. Condición: New. In Painting as Medicine in Early Modern Rome, Frances Gage undertakes an in-depth study of the writings of the physician and art critic Giulio Mancini. Using Mancini's unpublished treatises as well as contemporary documents, Gage demonstrates that in the early modern world, belief in the transformational power of images was not limited to cult images, as has often been assumed, but applied to secular ones as well. This important new interpretation of the value of images and the motivations underlying the rise of private art collections in the early modern period challenges purely economic or status-based explanations. Gage demonstrates that paintings were understood to have profound effects on the minds, imaginations, and bodies of viewers. Indeed, paintings were believed to affect the health and emotional balance of beholders-extending even to the look and disposition of their offspring-and to compel them to behave according to civic and moral values. In using medical discourse as an analytical tool to help elucidate the meaning that collectors and viewers attributed to specific genres of painting, Gage shows that images truly informed actions, shaping everyday rituals from reproductive practices to exercise. In doing so, she concludes that sharp distinctions between an artwork's aesthetic value and its utility did not apply in the early modern period.

Condición: New.

Condición: As New. Unread book in perfect condition.

Hardcover. Condición: new. Hardcover. In Painting as Medicine in Early Modern Rome, Frances Gage undertakes an in-depth study of the writings of the physician and art critic Giulio Mancini. Using Mancinis unpublished treatises as well as contemporary documents, Gage demonstrates that in the early modern world, belief in the transformational power of images was not limited to cult images, as has often been assumed, but applied to secular ones as well. This important new interpretation of the value of images and the motivations underlying the rise of private art collections in the early modern period challenges purely economic or status-based explanations. Gage demonstrates that paintings were understood to have profound effects on the minds, imaginations, and bodies of viewers. Indeed, paintings were believed to affect the health and emotional balance of beholdersextending even to the look and disposition of their offspringand to compel them to behave according to civic and moral values. In using medical discourse as an analytical tool to help elucidate the meaning that collectors and viewers attributed to specific genres of painting, Gage shows that images truly informed actions, shaping everyday rituals from reproductive practices to exercise. In doing so, she concludes that sharp distinctions between an artworks aesthetic value and its utility did not apply in the early modern period. Through a study of the writings of the papal physician and art critic Giulio Mancini, explores early modern art collecting in Italy. Argues that art within domestic contexts was understood to create healthy bodies, minds, and societies through the mechanism of the imagination. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Condición: New. Through a study of the writings of the papal physician and art critic Giulio Mancini, explores early modern art collecting in Italy. Argues that art within domestic contexts was understood to create healthy bodies, minds, and societies through the mechanism.

Hardback. Condición: New. In Painting as Medicine in Early Modern Rome, Frances Gage undertakes an in-depth study of the writings of the physician and art critic Giulio Mancini. Using Mancini's unpublished treatises as well as contemporary documents, Gage demonstrates that in the early modern world, belief in the transformational power of images was not limited to cult images, as has often been assumed, but applied to secular ones as well. This important new interpretation of the value of images and the motivations underlying the rise of private art collections in the early modern period challenges purely economic or status-based explanations. Gage demonstrates that paintings were understood to have profound effects on the minds, imaginations, and bodies of viewers. Indeed, paintings were believed to affect the health and emotional balance of beholders-extending even to the look and disposition of their offspring-and to compel them to behave according to civic and moral values. In using medical discourse as an analytical tool to help elucidate the meaning that collectors and viewers attributed to specific genres of painting, Gage shows that images truly informed actions, shaping everyday rituals from reproductive practices to exercise. In doing so, she concludes that sharp distinctions between an artwork's aesthetic value and its utility did not apply in the early modern period.

Hardcover. Condición: Brand New. sew edition. 232 pages. 10.25x8.25x1.25 inches. In Stock.

Buch. Condición: Neu. Neuware - 'In Painting as Medicine in Early Modern Rome, Frances Gage undertakes an in-depth study of the writings of the physician and art critic Giulio Mancini. Using Mancini¿s unpublished treatises as well as contemporary documents, Gage demonstrates that in the early modern world, belief in the transformational power of images was not limited to cult images, as has often been assumed, but applied to secular ones as well.This important new interpretation of the value of images and the motivations underlying the rise of private art collections in the early modern period challenges purely economic or status-based explanations. Gage demonstrates that paintings were understood to have profound effects on the minds, imaginations, and bodies of viewers. Indeed, paintings were believed to affect the health and emotional balance of beholders¿extending even to the look and disposition of their offspring¿and to compel them to behave according to civic and moral values.In using medical discourse as an analytical tool to help elucidate the meaning that collectors and viewers attributed to specific genres of painting, Gage shows that images truly informed actions, shaping everyday rituals from reproductive practices to exercise. In doing so, she concludes that sharp distinctions between an artwork¿s aesthetic value and its utility did not apply in the early modern period.