Only Connect : : Art and the Spectator in the Italian Renaissance / / John K.G. Shearman.
A leading art historian's plea for a more engaged reading of Italian Renaissance artOnly Connect constructs a history of Renaissance paintings and sculptures that are by design completed outside themselves by the spectator, that draw the spectator into their narrative plot or aesthetic function...
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| Place / Publishing House: | Princeton, NJ : : Princeton University Press, , [2023] ©1992 |
| Year of Publication: | 2023 |
| Language: | English |
| Series: | The A. W. Mellon Lectures in the Fine Arts ;
35 |
| Online Access: | |
| Physical Description: | 1 online resource (286 p.) :; 231 b/w illus. |
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| 100 | 1 | |a Shearman, John K.G., |e author. |4 aut |4 http://id.loc.gov/vocabulary/relators/aut | |
| 245 | 1 | 0 | |a Only Connect : |b Art and the Spectator in the Italian Renaissance / |c John K.G. Shearman. |
| 264 | 1 | |a Princeton, NJ : |b Princeton University Press, |c [2023] | |
| 264 | 4 | |c ©1992 | |
| 300 | |a 1 online resource (286 p.) : |b 231 b/w illus. | ||
| 336 | |a text |b txt |2 rdacontent | ||
| 337 | |a computer |b c |2 rdamedia | ||
| 338 | |a online resource |b cr |2 rdacarrier | ||
| 347 | |a text file |b PDF |2 rda | ||
| 490 | 0 | |a The A. W. Mellon Lectures in the Fine Arts ; |v 35 | |
| 506 | 0 | |a restricted access |u http://purl.org/coar/access_right/c_16ec |f online access with authorization |2 star | |
| 520 | |a A leading art historian's plea for a more engaged reading of Italian Renaissance artOnly Connect constructs a history of Renaissance paintings and sculptures that are by design completed outside themselves by the spectator, that draw the spectator into their narrative plot or aesthetic functioning, and that reposition the spectator imaginatively or in time and space. John Shearman's concern is mostly with anterior relationships with the viewer-that is, relationships conceived and constructed as part of a work's design, making, and positioning. He proposes unconventional ways in which works of art may be distinguished from one another, and in which spectators may be distinguished as well, and enlarges the accepted field of artistic invention. Only Connect challenges us to recognize the presuppositions of Renaissance artists about their viewers, shining a light on the process of discovery by some of the most inventive and intellectual artists of the period. | ||
| 538 | |a Mode of access: Internet via World Wide Web. | ||
| 546 | |a In English. | ||
| 588 | 0 | |a Description based on online resource; title from PDF title page (publisher's Web site, viewed 01. Nov 2023) | |
| 650 | 0 | |a Art, Italian. | |
| 650 | 0 | |a Art, Renaissance |z Italy. | |
| 650 | 0 | |a Audiences |x Psychology. | |
| 650 | 7 | |a ART / History / Renaissance. |2 bisacsh | |
| 653 | |a Adolf von Hildebrand. | ||
| 653 | |a Albrecht Dürer. | ||
| 653 | |a Altarpiece. | ||
| 653 | |a Andrea Fulvio. | ||
| 653 | |a Andrea Mantegna. | ||
| 653 | |a Andrea Solari. | ||
| 653 | |a Andrea del Sarto. | ||
| 653 | |a Antonello da Messina. | ||
| 653 | |a Antonio Rossellino. | ||
| 653 | |a Aretino. | ||
| 653 | |a Bacchus and Ariadne. | ||
| 653 | |a Baptistery. | ||
| 653 | |a Baroque architecture. | ||
| 653 | |a Basilica. | ||
| 653 | |a Bembo. | ||
| 653 | |a Camera degli Sposi. | ||
| 653 | |a Caravaggio. | ||
| 653 | |a Catullus. | ||
| 653 | |a Cecilia Gallerani. | ||
| 653 | |a Chiaroscuro. | ||
| 653 | |a Christ among the Doctors (Dürer). | ||
| 653 | |a Conceit. | ||
| 653 | |a Cosimo de' Medici. | ||
| 653 | |a Counter-Reformation. | ||
| 653 | |a Cristofano Allori. | ||
| 653 | |a Della Rovere. | ||
| 653 | |a Diego Velázquez. | ||
| 653 | |a Donatello. | ||
| 653 | |a Duke of Florence. | ||
| 653 | |a Edward Burne-Jones. | ||
| 653 | |a Epigram. | ||
| 653 | |a Famulus. | ||
| 653 | |a Feast of the Gods (art). | ||
| 653 | |a Filarete. | ||
| 653 | |a Filippino Lippi. | ||
| 653 | |a Galleria Borghese. | ||
| 653 | |a Ginevra de' Benci. | ||
| 653 | |a Giorgio Vasari. | ||
| 653 | |a Giorgione. | ||
| 653 | |a Giovanni Bellini. | ||
| 653 | |a Giovanni Pisano. | ||
| 653 | |a Giulio Romano. | ||
| 653 | |a Grand manner. | ||
| 653 | |a Hercules and Cacus. | ||
| 653 | |a Heroides. | ||
| 653 | |a High Renaissance. | ||
| 653 | |a High place. | ||
| 653 | |a Hyperbole. | ||
| 653 | |a Intentionality. | ||
| 653 | |a Jan van Eyck. | ||
| 653 | |a Las Meninas. | ||
| 653 | |a Lateran Baptistery. | ||
| 653 | |a Lodovico Dolce. | ||
| 653 | |a Madonna of the Harpies. | ||
| 653 | |a Mario Equicola. | ||
| 653 | |a Mario Praz. | ||
| 653 | |a Marriage of the Virgin (Perugino). | ||
| 653 | |a Masaccio. | ||
| 653 | |a Master of the Virgo inter Virgines. | ||
| 653 | |a Michelangelo. | ||
| 653 | |a Mona Lisa Smile. | ||
| 653 | |a Mystery play. | ||
| 653 | |a National Gallery of Art. | ||
| 653 | |a Orlando Furioso. | ||
| 653 | |a Paragone. | ||
| 653 | |a Parmigianino. | ||
| 653 | |a Persius. | ||
| 653 | |a Pesaro Madonna. | ||
| 653 | |a Petrarch. | ||
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