John Shearman makes a plea for a more engaged reading of art works of the Italian Renaissance, one that recognizes the presuppositions of Renaissance artists about their viewers. This book attempts to construct a history of those Renaissance paintings and sculptures that are by design completed outside themselves or by the spectator, that embrace the spectator into their narrative plot or aesthetic functioning, and that reposition the spectator imaginatively in time and space. He takes his lead from texts and artists of the period, for these artists reveal themselves as spectators. Among modern historiographical techniques, reception theory is closest to the author's method, but Shearman's concern is mostly with anterior relationships with the viewer - that is, relationships conceived and constructed as part of the work's design, making and positioning. Shearman proposes unconventional ways in which works of art may be distinguished one from another, and enlarges the accepted field of artistic invention. Furthermore, his argument reflects on the Renaissance itself. What is created in this period tends to be regarded as conventional, or inherent in the nature of painting and sculpture: he maintains that this is a careless, disengaged view that has overlooked the process of discovery by immensely inventive and visually intellectual artists.
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John Shearman (1931–2003) was the Charles Adams University Professor Emeritus at Harvard University and the author of many books, including Raphael in Early Modern Sources, 1483–1602; The Early Italian Pictures in the Collection of Her Majesty the Queen; and Mannerism.
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Vendeur : ThriftBooks-Atlanta, AUSTELL, GA, Etats-Unis
Hardcover. Etat : Good. No Jacket. Pages can have notes/highlighting. Spine may show signs of wear. ~ ThriftBooks: Read More, Spend Less. N° de réf. du vendeur G0691099723I3N00
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Vendeur : ThriftBooks-Atlanta, AUSTELL, GA, Etats-Unis
Hardcover. Etat : Good. No Jacket. Former library book; Pages can have notes/highlighting. Spine may show signs of wear. ~ ThriftBooks: Read More, Spend Less. N° de réf. du vendeur G0691099723I3N10
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Hardcover. Etat : Very Good. No Jacket. Former library book; May have limited writing in cover pages. Pages are unmarked. ~ ThriftBooks: Read More, Spend Less. N° de réf. du vendeur G0691099723I4N10
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Vendeur : WorldofBooks, Goring-By-Sea, WS, Royaume-Uni
Hardback. Etat : Very Good. The book has been read, but is in excellent condition. Pages are intact and not marred by notes or highlighting. The spine remains undamaged. N° de réf. du vendeur GOR007862505
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Vendeur : Argosy Book Store, ABAA, ILAB, New York, NY, Etats-Unis
hardcover. Etat : very good. Etat de la jaquette : very good. Illustrated (color and b/w). 281 pages. 4to., brown cloth (damp-stained at bottom of spine and dust wrapper but internally clean). Washington, D.C.: The National Gallery of Art, (1992). Very good. The A.W. Mellon Lectures in the Fine Arts, 1988. Bollingen Series XXXV. N° de réf. du vendeur 303536
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Vendeur : Mullen Books, ABAA, Marietta, PA, Etats-Unis
Hardcover. Brown cloth over boards; Color pictorial dj.; 281 pp.; 25 color plates, 201 bw figures. The 37th volume in the A.W. Mellon Lectures in the Fine Arts; From the jacket: ". . . the first attempt to construct a history of those Renaissance paintings and sculptures that are by design completed outside themselves in or by the spectator, that embrace the spectator into their narrative plot or aesthetic functioning." VG- (Fine interior; Light wear to dj. extremities; fading to dj cover; previous owner's name written on first page; remainder mark on bottom). N° de réf. du vendeur 118260
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Vendeur : Harry Alter, Sylva, NC, Etats-Unis
hardcover, Etat : Good, National Gallery of Art, Princeton University Press, c.1992, 1st., 7-3/4"x10-1/4", cloth, 281pp., illusts., ex-lib.- spine label, pocket, stamps, ow VG $. N° de réf. du vendeur 78159
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Vendeur : Springhead Books, Rochester, Royaume-Uni
Hardcover. Etat : Very Good. Etat de la jaquette : Very Good. 1st Edition. John Shearman makes the plea for a more engaged reading of art works of the Italian Renaissance, one that will recognize the presuppositions of Renaissance artists about their viewers. His book is the first attempt to construct a history of those Renaissance paintings and sculptures that are by design completed outside themselves in or by the spectator, that embrace the spectator into their narrative plot or aesthetic functioning, and that reposition the spectator imaginatively in time and space. xvii, 281 p., ill., xxv col. plates ; 26 cm. First edition, first impression. Brown cloth boards, unclipped dust jacket. Slight shelf wear to edges, no inscriptions, tight and square binding. Photographs available on request. All books dispatched same or next working day in robust packaging. N° de réf. du vendeur 017039
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Vendeur : Laureate Fine Books, Poultney, VT, Etats-Unis
Etat : Near Fine. Etat de la jaquette : Very Good+. First Edition, First Printing. A Near Fine Book in a Very Good or Better Dust Jacket, Unclipped (Unpriced). Book is lightly rubbed and sunned to extremities. Text block is bright and fresh excepting a few spots of dust soiling. Text is unmarked. Binding is tight and square. Dust Jacket is lightly bumped to extremities and somewhat toned from sunning. Hardcover. Octavo. [xviii], [3], 4-281pp. Publisher's Brown Cloth, Stamped Gilt Detailing. N° de réf. du vendeur 1258
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Vendeur : Andover Books and Antiquities, Andover, MA, Etats-Unis
Hardcover. Etat de la jaquette : Good. The A.W. Mellon Lectures in the Fine Arts - 1988. xvii, 281 pp. The A.W. Mellon Lectures in the Fine Arts, 1977, at the National Gallery of Art in Washington, D.C. Bollingen Series. XXXV: 37. LCC: 9127246 Good condition; some yellow highlighting on page 4 and in Index. N° de réf. du vendeur CH09140064
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