1992, ISBN: 9780691015736

Princeton, Princeton University Press, XIV, 173 p., plates. Original softcover. From the library of Prof. Wolfgang Haase, long-time editor of ANRW and the International Journal of the Cla… Plus…

Princeton, Princeton University Press, XIV, 173 p., plates. Original softcover. From the library of Prof. Wolfgang Haase, long-time editor of ANRW and the International Journal of the Classical Tradition (IJCT). - Slightly rubbed, overall very good and clean. / Leicht berieben, insgesam sehr gut und sauber. - Introduction: ?Much has been said with regard to the Primavera, and much of it is untrue.? So wrote Raimond van Marie in the twelfth volume, published in 1931, of The Development of the Italian Schools of Painting. Much more has been said since, and yet there are many who would still agree, despite?or perhaps even because of?the high quality of thought and writing that have been devoted to the painting. So excellent and so important has this been that to trace one?s way through the bibliography devoted to the Primavera is in a significant way to outline the historiography of the study of Renaissance art, and even in a broad sense the history of art itself during the past century. And yet, if scholars of the stature of Aby Warburg, Edgar Wind, Pierre Francastel, Erwin Pa-nofsky, and others of comparable distinction may be found to disagree in the accounts each has given of Botticelli?s imagery and its historical context, then casual students of the painting and its period may well wonder whether our understanding has been advanced, and whether some new hypothesis, as yet untried, might fruitfully be put forward. Indeed, more than one recent writer has complained that the painting has become obscured by accumulated interpretive veils, like so many layers of old varnish, so that direct access to its physical and conceptual beauty is impeded by a dark and confused web of mutually contradictory preconceptions. One of the most recent writers, Ronald Lightbown, has gone so far as to suggest that if we look at the painting afresh, and carefully describe what we see, then many of the problems imposed on it by a large and complex interpretive literature might simply resolve themselves. Fortunately for his interpretation, Lightbown instead relied extensively on the work of earlier scholars, all of whom had themselves, needless to say, looked at the Primavera freshly, and very closely too. But the sense of frustration he felt in the face of so many rival interpretations, among which understanding had seemed to become mired in the contingencies of methodological preference, is one of long standing. As Ernst Gombrich wrote in his well-known study of Botticelli?s mythologies, ?Anyone interested in problems of method can do no better than study the conflicting interpretations of the Primavera and the discussions which centred round them.? ISBN 9780691015736Kunst 1992, [PU: Princeton University Press]<

1992, ISBN: 0691015732

[EAN: 9780691015736], [PU: Princeton University Press, Princeton 1992], FLORENCE RENAISSANCE POETRY DE'MEDICI, 25.5 x 18.5cms, 172pp, b/w & colour illusts, very good paperback & cover Thi… Plus…

[EAN: 9780691015736], [PU: Princeton University Press, Princeton 1992], FLORENCE RENAISSANCE POETRY DE'MEDICI, 25.5 x 18.5cms, 172pp, b/w & colour illusts, very good paperback & cover This book covers: the classical 'materia' of Botticelli's invention for the 'Primavera'; the 'Primavera' & vernacular expression; Lucrezia Dinati, Luigi Pulci's 'Da poi che l'Lauro' & some poems by Lorenzo de'Medici; Lorenzo de'Medici, Simonetta Cattaneo & Lucrezia Donati; reading the poem., Books<