Produktdetaljer
Biografisk notat
Claire Farago is Professor of Renaissance Art, Theory, and Criticism at the University of Colorado at BoulderLeonardo da Vinci and the ethics of style brings together a distinguished group of experts on Leonardo and the Renaissance, examining the ethical underpinnings of art history. The seven essays articulate the complexity of ways in which style involved ethical considerations during the early modern period, and still involves us in its conundrums.
Looking at individual works and concepts, this fascinating collection covers subjects such as Leonardo’s understanding of his role as a painter as that of a natural philosopher, his interests in visual perception and the understanding of visual sensations by the mind, how and why Leonardo’s ideas on painting are at the core of art theory, how Leonardo addresses style in gendered terms, and ‘style’ as the historian’s projection.
This volume will be of great interest to all those studying or with an enthusiasm for Renaissance art history, art theory, cultural studies and philosophy.
Acknowledgements
List of illustrations
Claire Farago, Introduction: seeing style otherwise
1. Catherine Soussloff, Discourse/figure/love: the location of style in early modern sources on Leonardo da Vinci
2. Mary Pardo, Leonardo da Vinci on the painter’s task: memory/imagination/figuration
3. Robert Zwijnenberg, John the Baptist and the essence of painting
4. Fredrika H. Jacobs, Leonardo, grazia, and the gendering of style
5. Claire Farago, Three ducats in Venice’: connecting Giorgione and Leonardo
6. Janis Bell, Sfumato and acuity perspective
7. Pauline Maguire Robison, Leonardo’s Trattato della pittura, Nicolas Poussin, and the pursuit of eloquence in seventeenth-century France
Consolidated bibliography
List of contributors
Notes
Index
Leonardo da Vinci and the ethics of style brings together a distinguished group of experts on Leonardo and the Renaissance, examining the ethical underpinnings of art history. The seven essays articulate the complexity of ways in which style involved ethical considerations during the early modern period, and still involves us in its conundrums.
Looking at individual works and concepts, this fascinating collection covers subjects such as Leonardo’s understanding of his role as a painter as that of a natural philosopher, his interests in visual perception and the understanding of visual sensations by the mind, how and why Leonardo’s ideas on painting are at the core of art theory, how Leonardo addresses style in gendered terms, and ‘style’ as the historian’s projection.
This volume will be of great interest to all those studying or with an enthusiasm for Renaissance art history, art theory, cultural studies and philosophy.