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Seller's Description:
New. 0271013001. *** FREE UPGRADE to Courier/Priority Shipping Upon Request ***-*** IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT-FLAWLESS COPY, BRAND NEW, PRISTINE, NEVER OPENED--AVOID WEEKS OF DELAY ELSEWHERE. --226pp--illus. --clean and crisp, tight and bright pages, with no writing or markings to the text. --with a bonus offer--; 4to-over 9¾"-12" tall.
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Seller's Description:
Fine in Near Fine jacket. 4to-over 9¾-12" tall Fine and bright with no wear or markings in a near fine jacket that looks about new. Scholarly work. Illustrated and with large select bibliography.
Publisher:
The Pennsylvania State University Press
Published:
1995
Language:
English
Alibris ID:
17967461124
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Seller's Description:
G+ (Ex-art library with fews marks, no dj, otherwise clean. ) Dark siena cloth, gilt letters on spine, 226 pp., 64 BW illus. Meets the need of the "intrinsic interest in examing the ways in which Raphael shaped French art. An artist's influence on subsequent generations is usually considered rather narrowly n terms of borrowed compositions or motifs or direct emulation of the master's style. Certainly Raphael was copied and emulated more than any other master from the sixteenth through the nineteenth centuries, yet Raphael's authority in shaping French art theory and practice transcended these instances of direct influence." (intro).
Publisher:
The Pennsylvania State University Press
Published:
1995
Language:
English
Alibris ID:
17967469808
Shipping Options:
Standard Shipping: $4.76
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Seller's Description:
VG+/VG+ Dark gray cloth, gilt letters on spine, black and white illustrated dust jacket, xii, 226 pp., 64 black and white illustrations. Focusing on French art and theory from the classical to the Romantic era, Raphael and France is part of the ongoing revision of views of that period which has been taking place for the last twenty years. The book demonstrates that the shifts from classical to Rococo to neo-classical aesthetics were not as abrupt or as all-encompassing as has been assumed. By tracing the continuity and transformation of the classical ideal, with Raphael's art and image as central paradigms, Rosenberg achieves a broader, more accurate, and comprehensive view of French artistic developments during this period. Rosenberg draws on careful readings of primary sources, including the correspondence and lectures of the French Academy, some of which are unpublished; most of the major theoretical treatises by French and foreign authors; and contemporary criticism and works of art. In the process, he strikes a methodological balance between traditional art-historical approaches and insights provided by more contemporary approaches, such as semiotics and post-structuralism. As the notion of isolated genius as the prime force in art has given way to a broader, more contextual view of art and history, interest in past traditions once regarded as outmoded or dead has grown tremendously. This book makes a timely contribution to this widening area of inquiry.