Fra Angelico pdf epub mobi txt 电子书下载 2024

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Georges Didi-Huberman

University of Chicago Press

Jane Marie Todd

1995-10-15

290

USD 70.00

Hardcover

9780226148137

图书标签: 艺术史 Didi-Huberman 艺术艺术理论美术视觉文化藝術史艺术评论

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发表于2024-11-05

Fra Angelico epub 下载 mobi 下载 pdf 下载 txt 电子书下载 2024

Fra Angelico pdf epub mobi txt 电子书下载 2024

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The traditional story of Renaissance painting is one of inexorable progress toward the exact representation of the real and visible. Georges Didi-Huberman disrupts this story with a new look - and a new way of looking - at the 15th-century painter Fra Angelico. In doing so, he aims to alter our understanding of both early Renaissance art and the processes of art history. A Florentine painter who took Dominican vows, Fra Angelico (1400-1455) approached his work as a largely theological project. For him, the problems of representing the unrepresentable, of portraying the divine and the spiritual, mitigated the more secular breakthroughs in imitative technique. Didi-Huberman explores Fra Angelico's solutions to these problems - his use of colour to signal approaching visibility, of marble to recall Christ's tomb, of paint drippings to simulate (or stimulate) holy anointing. He shows how the painter employed emptiness, visual transformation and displacement to give form to the mystery of faith. In the work of Fra Angelico, an alternate strain of Renaissance painting emerges to challenge rather than reinforce verisimilitude. Didi-Huberman traces this disruptive impulse through theological writings and iconographic evidence and identifies a widespread tradition in Renaissance art that ranges from Giotto's break with Byzantine image-making well into the 16th century. He reveals how the techniques that served this ultimately religious impulse may have anticipated the more abstract characteristics of modern art, such as colour fields, paint spatterings and the absence of colour.

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为自己的WS而读，相当复杂但是极为重要。一个感受：于贝尔曼的切入点之一（安杰利科在佛罗伦萨圣马克修院的《天使报喜中》的红点儿）之所以在几乎会被无视并非它的位置么不起眼，而是我们在观看的时候被起源于文艺复兴时期，以阿尔贝蒂带头的那一群人文主义者的理论先入为主的观念造成的，也就是我们熟知的叙事体系（时间地点人物等），而于贝尔曼恰恰关注的是“无形”的东西，同时在用和中世纪神学和经院文本的语境approach这个问题，对于习惯了艺术史里对于透视和绘画空间传统意义上的风格分析，以及图像学来说可能会不大适应，以及书里夹杂着大量拉丁语都是不晓得障碍，但是很多层面来说意义重大。缺点还是有的，于贝尔曼感觉蛮啰嗦，很多东西重新组织一下可能会更清晰一些～

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打3星半到4星。那半个星给他的图像观看发现能力。大约两个月前和他的Images in Spite of All、Confronting Images先后读过。这位学者最突出的是图像的发现能力，往往见人所未见。但是他对图像的分析论证往往不令人信服，释经学的方法是否可以完全借用到图像分析中？宗教激情的言辞作者虽有克制，但是行文中表露出来也不免令人错愕。

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