Fra Angelico pdf epub mobi txt 電子書下載 2024

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Georges Didi-Huberman

University of Chicago Press

Jane Marie Todd

1995-10-15

290

USD 70.00

Hardcover

9780226148137

圖書標籤: 藝術史 Didi-Huberman 藝術藝術理論美術視覺文化藝術史藝術評論

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发表于2024-12-26

Fra Angelico epub 下載 mobi 下載 pdf 下載 txt 電子書下載 2024

Fra Angelico pdf epub mobi txt 電子書下載 2024

圖書描述

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.

Fra Angelico 下載 mobi epub pdf txt 電子書

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圖書目錄

Fra Angelico pdf epub mobi txt 電子書下載

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用戶評價

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為自己的WS而讀，相當復雜但是極為重要。一個感受：於貝爾曼的切入點之一（安傑利科在佛羅倫薩聖馬剋修院的《天使報喜中》的紅點兒）之所以在幾乎會被無視並非它的位置麼不起眼，而是我們在觀看的時候被起源於文藝復興時期，以阿爾貝蒂帶頭的那一群人文主義者的理論先入為主的觀念造成的，也就是我們熟知的敘事體係（時間地點人物等），而於貝爾曼恰恰關注的是“無形”的東西，同時在用和中世紀神學和經院文本的語境approach這個問題，對於習慣瞭藝術史裏對於透視和繪畫空間傳統意義上的風格分析，以及圖像學來說可能會不大適應，以及書裏夾雜著大量拉丁語都是不曉得障礙，但是很多層麵來說意義重大。缺點還是有的，於貝爾曼感覺蠻囉嗦，很多東西重新組織一下可能會更清晰一些～

評分☆☆☆☆☆

打3星半到4星。那半個星給他的圖像觀看發現能力。大約兩個月前和他的Images in Spite of All、Confronting Images先後讀過。這位學者最突齣的是圖像的發現能力，往往見人所未見。但是他對圖像的分析論證往往不令人信服，釋經學的方法是否可以完全藉用到圖像分析中？宗教激情的言辭作者雖有剋製，但是行文中錶露齣來也不免令人錯愕。

評分☆☆☆☆☆