Victor Stoichita challenges the received ideas about the linear progression of Western painting, from the Renaissance, through Mannerism to the Baroque. Eschewing questions of style, he focuses instead on the painting as a framed, transportable, and marketable object that is a specifically modern artistic medium. Arguing that panel painting, from its origins in the Early Renaissance, was a 'self-aware image', Stoichita demonstrates that the artist and his art was often the theme of the painting. He also examines the mirror effect and other 'splitting' strategies such as the mise en abime and intertextual play. By analysing these modalities of self-reflection, Stoichita offers a new and unexpected view of a period and the art it produced once considered to have been definitively classified.
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和巫鸿的重屏基本同时的书,这本应该更早一些。巫鸿的更通俗易懂,但这本对我影响更深。
评分不太记得了,只觉得当时对它批判居多
评分不太记得了,只觉得当时对它批判居多
评分作为一篇博士论文(虽然不是第一篇),写到这种程度实在是不可思议,导师:André Chastel。方法论仍然是最值得深思的地方。
评分作为一篇博士论文(虽然不是第一篇),写到这种程度实在是不可思议,导师:André Chastel。方法论仍然是最值得深思的地方。
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