- Gebundene Ausgabe: 366 Seiten
- Verlag: Yale Univ Pr; Auflage: 1st Edition (15. Januar 2007)
- Sprache: Englisch
- ISBN-10: 0300109113
- ISBN-13: 978-0300109115
- Größe und/oder Gewicht: 29,6 x 25,5 x 3,2 cm
- Amazon Bestseller-Rang: Nr. 545.694 in Englische Bücher (Siehe Top 100 in Englische Bücher)
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Produktbeschreibungen
Pressestimmen
"This book . . . will serve as a catalyst for the reconsideration of many artists and works of art produced in Florence around 1500. Geronimus''s insights . . . will be both a challenge and an example for other scholars in the field . . ."--Jean Cadogan, "Sixteenth Century Journal"--Jean Cadogan "Sixteenth Century Journal "
Kurzbeschreibung
Inverting rules with obvious relish, Florentine artist Piero di Cosimo (1462-1522) is known today, as he was in his own time, for his highly personal visual language, one capable of generating images of the most mesmerizing oddity. Endlessly inventive, versatile, and often playful, Piero defies easy classifications or labels. In this book, Dennis Geronimus overcomes the scarcity of information about the artist's life and works (only one of the nearly sixty known works by Piero is actually signed and dated) and pieces together from extensive archival research the most complete and accurate account of Piero's life and career ever written. Unfettered imagination was the sign under which Piero exercised his pictorial invention throughout his life, and yet the complicated artist was also a product of his culture. The book fills gaps in the artist's biography and along the way, sheds light on the social, literary, and artistic traditions that stimulated a demand for his novel work. The author provides intensive analysis of Piero's protean imagery, discusses his various patrons and commissions, and lists his extant, lost, and uncertainly-attributed works.
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10 von 11 Kunden fanden die folgende Rezension hilfreich
All Future Discussions of Piero Will Have to Revolve Around This Book
12. Juli 2007
Format:Gebundene Ausgabe
This book is an essential addition to any library of Renaissance art. The author takes on one of the most problematic artists in the entire canon, sets him within the context of his time, and quietly distills the complex and intricate images that have made Piero's paintings so fascinating to us today. Recognizing that Piero's works are chronologically problematic, the book takes the innovative approach of discussing all the known works--some previously unpublished--by genre. Particularly fascinating is the discussion of mythologoical works which are the most elusive of Piero's oeuvre. In order to capture the full range of Piero's intention, the author delves into historical and literary sources, and renders a stimulating analysis of the relationship of text to image. Also key is the author's understanding of Piero's uncanny inventiveness and his ability to reach beyond the framework of a story to render an artistic vision that is not derivative but truly inspiring. This is the premier book on Piero di Cosimo's work--one that will be a touchstone for all subsequent research.
8 von 11 Kunden fanden die folgende Rezension hilfreich
wheres the art?
8. August 2008
Format:Gebundene Ausgabe|Von Amazon bestätigter Kauf
I must admit my interest in this book was high, I had seen the artists work at other places, but never a decent size image...well gang this is not the place to find any real legible imagery of this artist. It is astonishing to find the lions share of paintings ,are no more than an inch or so in height running across the top of the pages...truly ludicrous...how anyone might review this in a positive manner is a mystery to me, maybe if you are only interested in the text, but avoid if you seek artwork...you have been warned!
6 von 16 Kunden fanden die folgende Rezension hilfreich
Top Images
14. April 2007
Format:Gebundene Ausgabe|Von Amazon bestätigter Kauf
Number one for illustrations. No score for text. Einstein once said that if you cannot explain something simply, you do not know your subject well enough. The author certainly seems to know his subject; but his writing is choked with contortions. One idea to one sentence would be a good beginning.
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