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Seller's Description:
Very Good in Very Good jacket. Art / History / Criticism. 8vo. First edition. (2001. ) Hardcover with dust jacket. 8vo with 480 pages. The book and dust jacket are in very good condition with very slight shelf wear. Wear 1/8"-1" on back fold of DJ. Interior is clean and tight. Illustrated. "Hans Belting is one of the great thinkers of our time. His work, that goes across medieval art to contemporary art is a rare mix of erudite studies and philosophical and aesthetic theory." Blue spine/White text.
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Seller's Description:
Clean pages, tight binding, clea. Illustrated dust jacket over clo. Size: 6x1x11; First American Edition revised from the German editionClean pages, tight binding, clean boards, original dust jacket with tiny tear to rear upper edge, illustrated dust jacket over cloth boards.
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Seller's Description:
New. 0226042650. *** FREE UPGRADE to Courier/Priority Shipping Upon Request ***-*** IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT-384 pages--IMPORTANT: Interior text is clean, tight, and unmarked. Pages are intact and tight to the spine. "The "invisible masterpiece" is an unattainable ideal, a work of art into which a dream of absolute art is incorporated but can never be realized. Using this metaphor borrowed from Balzac, Hans Belting explores the history of "the masterpiece" and how its status and meaning have been elevated and denigrated since the early nineteenth century. Before 1800, works of art were either imitative (portraits and landscapes) or narrative (history painting). But under the influence of Romantic modernity, the physical object--a painted canvas, for example, or a sculpture--came to be seen as visible testimony of the artist's attempt to achieve absolute or ultimate art; in short, the impossible. This revolution in interpretation coincided with the establishment of the first public art museums, in which classical and Renaissance works were presented as the "real" masterpieces, timeless art of such quality that no modern artist could possibly hope to achieve. The Mona Lisa and other celebrated paintings preoccupied artists who felt burdened by this cult of the masterpiece as it came to be institutionalized. " From University of Chicago Press--with a bonus offer--;
