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xvii, 431 pages ; 25 cm
Binghamton, N.Y. : Medieval and Renaissance Texts and Studies, Center for Medieval & Early Renaissance Studies, 1982.
Rome in the Renaissance : the city and the myth : papers of the Thirteenth Annual Conference of the Center for Medieval & Early Renaissance Studies / edited by P.A. Ramsey.
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xvii, 431 pages ; 25 cm
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Binghamton, N.Y. : Medieval and Renaissance Texts and Studies, Center for Medieval & Early Renaissance Studies, 1982.
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$68.95
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Résumé:
This collection contains studies written by art historian James Ackerman over the past decade. Whereas Ackerman’s earlier work assumed a development of the arts as they responded to social, economic, political, and cultural change, his recent work reflects the poststructural critique of the presumption of progress that characterized Renaissance and modernist history and(...)
Théorie de l’architecture
novembre 2001, Cambridge, Mass.
Origins, imitation, conventions : representation in the visual arts
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This collection contains studies written by art historian James Ackerman over the past decade. Whereas Ackerman’s earlier work assumed a development of the arts as they responded to social, economic, political, and cultural change, his recent work reflects the poststructural critique of the presumption of progress that characterized Renaissance and modernist history and criticism. In this book he explores the tension between the authority of the past--which may act not only as a restraint but as a challenge and stimulus--and the potentially liberating gift of invention. He examines the ways in which artists and writers on art have related to ancestors and to established modes of representation, as well as to contemporary experiences. The "origins" studied here include the earliest art history and criticism; the beginnings of architectural drawing in the Middle Ages and Renaissance; Leonardo Da Vinci’s sketches for churches, the first in the Renaissance to propose supporting domes on sculpted walls and piers; and the first architectural photographs. "Imitation" refers to artistic achievements that in part depended on the imitation of forms established in practices outside the fine arts, such as ancient Roman rhetoric and print media. "Conventions," like language, facilitate communication between the artist and viewer, but are both more universal (understood across cultures) and more fixed (resisting variation that might diminish their clarity). The three categories are closely linked throughout the book, as most acts of representation partake to some degree of all three.
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novembre 2001, Cambridge, Mass.
Théorie de l’architecture
$60.00
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In this collection of essays, Ackerman offers insight into his formation and development as a scholar, as well as reflections on a range of topics. Concise, lucid, and original, this book presents deep syntheses alongside innovative approaches and a broadening geographical and chronological reach. Ackerman’s enduring fascination with architecture was one unforeseen(...)
Origins, invention, revision: studying the history of art and architecture
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$60.00
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In this collection of essays, Ackerman offers insight into his formation and development as a scholar, as well as reflections on a range of topics. Concise, lucid, and original, this book presents deep syntheses alongside innovative approaches and a broadening geographical and chronological reach. Ackerman’s enduring fascination with architecture was one unforeseen consequence of his military service in World War II, and the collection includes a revealing account of his part in the liberation of Milan as a soldier in the Fifth American Regiment. These essays represent a unique, personal journey—from the Italian Renaissance to the classical architecture of India and the work of Frank Gehry at the new museum of the Fondation Louis Vuitton in Paris.
Théorie de l’architecture
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The Fondation Louis Vuitton by Frank O. Gehry rises from the Bois de Boulogne as a new landmark in the Parisian skyline. Gehry's dynamic architecture is both glittering and multifaceted: is it a sailing vessel, an iceberg, or a sea monster? It fascinates with its wealth of references and, at the same time, escapes any clear-cut definition. Three outstanding(...)
Architecture, monographies
mars 2019
On the good ship lollipop: Frank O. Gehry's Fondation Louis Vuitton
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The Fondation Louis Vuitton by Frank O. Gehry rises from the Bois de Boulogne as a new landmark in the Parisian skyline. Gehry's dynamic architecture is both glittering and multifaceted: is it a sailing vessel, an iceberg, or a sea monster? It fascinates with its wealth of references and, at the same time, escapes any clear-cut definition. Three outstanding representatives of different generations of art history, James S. Ackerman, Irving Lavin, and Horst Bredekamp have together paid a visit to the Fondation Louis Vuitton. They explore the building in three essays that try to fathom the floating architecture of the "magician" Gehry in the context of both art and architectural history.
Architecture, monographies
livres
Description:
xiii, 523 pages : illustrations ; 25 cm
Firenze : L.S. Olschki, 2009.
Delizie estensi : architetture di villa nel Rinascimento italiano ed europeo / a cura di Francesco Ceccarelli, Marco Folin.
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xiii, 523 pages : illustrations ; 25 cm
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Firenze : L.S. Olschki, 2009.
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$135.00
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"Antiquity and its Interpreters" examines how the physical and textual remains of the ancient Romans were viewed and received by writers, artists, and cultural (...)
novembre 1999, Cambridge
Antiquity and its interpreters
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"Antiquity and its Interpreters" examines how the physical and textual remains of the ancient Romans were viewed and received by writers, artists, and cultural makers of early modern Italy. This volume reconsiders the complex relationship between the two cultures, in light of recent scholarship in the field a new appreciation and awareness of the act of history writing itself. The case studies analyze specific texts, the archaeological projects that made ‘antiquity’ available, the revival of art history and theory, and the appropriation of antiquities to serve social ideologies, among other topics. Demonstrating that the antique model was itself an artful contruct, "Antiquity and its Interpretors" shows that the originality of Renaissance culture owed as much to ignorance about antiquity as to an understanding of it. It also provides a synthesis of seminal work that recognizes the reciprocal relationship of the Renaissance to Antiquity. Contributors include James Ackerman, David Galbraith, Patricia Fortini Brown, Philip Sohm, Sheila Bonde, Martine Furno II, Marina Belozerskaya, Kenneth D. S. Lapatin, Leonard Barkan, Julia Branna Perlman, Nicola Courtright, Alina A. Payne, Rebekah Smick, Gehard Wolf, Christof Thoenes, Michael Koortbojian, Tod Marder, Phyllis Pray Bober, Richard Betts, Catherine Wilkinson Zerner, Richard Brilliant, Michael Ann Holly, Carl Goldstein.
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novembre 1999, Cambridge