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"Specialists in the field should be interested in Berger's re-interpretation of particular portraits by Rembrandt and other artists. . . . More general readers can benefit from these summaries. . . ." -- Canadian Journal of History "Berger comes to art history from outside of art history, like fresh air through an open window." -- Common Knowledge
Reseña del editor:This lavishly illustrated reading of the structure and meaning of portraiture asks what happens when portraits are interpreted as imitations or likenesses not only of individuals but also of their acts of posing. Includes 84 illustrations, 40 in color.
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1. Fictions Of The Pose
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STANFORD UNIVERSITY PRESS
(2000)
ISBN 10: 0804733236
ISBN 13: 9780804733236
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Buchbeschreibung STANFORD UNIVERSITY PRESS, 2000. Hardcover. Zustand: New. This Book Is In Good Condition. Customer Satisfaction Comes First. Delivery Time 4 To 8 Days. 100% Money Back Guaranteed.!!. Bestandsnummer des Verkäufers U_0804733236
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2. Fictions of the Pose
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Buchbeschreibung Stanford University Press, 2000. HRD. Zustand: New. New Book. Shipped from UK. Established seller since 2000. Bestandsnummer des Verkäufers CA-9780804733236
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3. Fictions of the Pose: Rembrandt Against the Italian Renaissance (Hardback)
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Stanford University Press, United States
(2000)
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Buchbeschreibung Stanford University Press, United States, 2000. Hardback. Zustand: New. Language: English. Brand new Book. The foundational question this book explores is: What happens when portraits are interpreted as imitations or likenesses not only of individuals but also of their acts of posing-when the observer's attention is redirected so that the primary object the portrait imitates becomes the likeness not of a person but of an act, the act of sitting for one's portrait? This shift of attention involves another: from the painter's to the sitter's part in the act of (self-)portrayal.At the ground level, Fictions of the Pose develops a hypothesis about the structure and meaning of portraiture. That foundation supports a first story devoted to the practices and politics of early modern Italian and Dutch portraiture and a second story devoted to Rembrandt's self-portraits, especially those in which he poses in fancy dress as if he were a patron. The author approaches the Rembrandt/Renaissance relation not as an art historian but as an interpreter trained in literary studies, taunted by the challenge of extending the practice of "close reading" from verbal to visual media and fascinated by the way this practice can show how individual works "talk back" to their contexts. The context for Rembrandt, the object and target of his "looking-glass theater," is the structure of patron/painter relations that developed during the Renaissance and influenced the very different conditions of patronage that emerged in the Dutch Republic around the turn of the seventeenth century.The book is in four parts. Parts One and Two comprise an interpretive study of the technical and sociopolitical conditions within which portraiture becomes an important if problematic medium of self-representation in early modern Europe. The major portion of these two sections considers the structure and the consequences of a system of practices and conventions that governs poses in commissioned portraits. In Part Three the scene shifts from Italian to Dutch portraiture. Part Four is devoted to self-portraits by Rembrandt that are interpreted as responses to the conditions depicted in the first three parts. Through a series of close readings of individual works, the author demonstrates the ironic, polemical, and political force of Rembrandt's self-portraits. Bestandsnummer des Verkäufers AAJ9780804733236
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4. Fictions of the Pose: Rembrandt Against the Italian Renaissance (Hardback)
Verlag:
Stanford University Press, United States
(2000)
ISBN 10: 0804733236
ISBN 13: 9780804733236
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Buchbeschreibung Stanford University Press, United States, 2000. Hardback. Zustand: New. Language: English. Brand new Book. The foundational question this book explores is: What happens when portraits are interpreted as imitations or likenesses not only of individuals but also of their acts of posing-when the observer's attention is redirected so that the primary object the portrait imitates becomes the likeness not of a person but of an act, the act of sitting for one's portrait? This shift of attention involves another: from the painter's to the sitter's part in the act of (self-)portrayal.At the ground level, Fictions of the Pose develops a hypothesis about the structure and meaning of portraiture. That foundation supports a first story devoted to the practices and politics of early modern Italian and Dutch portraiture and a second story devoted to Rembrandt's self-portraits, especially those in which he poses in fancy dress as if he were a patron. The author approaches the Rembrandt/Renaissance relation not as an art historian but as an interpreter trained in literary studies, taunted by the challenge of extending the practice of "close reading" from verbal to visual media and fascinated by the way this practice can show how individual works "talk back" to their contexts. The context for Rembrandt, the object and target of his "looking-glass theater," is the structure of patron/painter relations that developed during the Renaissance and influenced the very different conditions of patronage that emerged in the Dutch Republic around the turn of the seventeenth century.The book is in four parts. Parts One and Two comprise an interpretive study of the technical and sociopolitical conditions within which portraiture becomes an important if problematic medium of self-representation in early modern Europe. The major portion of these two sections considers the structure and the consequences of a system of practices and conventions that governs poses in commissioned portraits. In Part Three the scene shifts from Italian to Dutch portraiture. Part Four is devoted to self-portraits by Rembrandt that are interpreted as responses to the conditions depicted in the first three parts. Through a series of close readings of individual works, the author demonstrates the ironic, polemical, and political force of Rembrandt's self-portraits. Bestandsnummer des Verkäufers AAJ9780804733236
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5. Fictions of the Pose
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(2000)
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Buchbeschreibung Stanford University Press, 2000. HRD. Zustand: New. New Book. Shipped from UK. Established seller since 2000. Bestandsnummer des Verkäufers CA-9780804733236
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6. Fictions of the Pose: Rembrandt Against the Italian Renaissance (Hardback)
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Stanford University Press, United States
(2000)
ISBN 10: 0804733236
ISBN 13: 9780804733236
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Buchbeschreibung Stanford University Press, United States, 2000. Hardback. Zustand: New. Language: English. Brand new Book. The foundational question this book explores is: What happens when portraits are interpreted as imitations or likenesses not only of individuals but also of their acts of posing-when the observer's attention is redirected so that the primary object the portrait imitates becomes the likeness not of a person but of an act, the act of sitting for one's portrait? This shift of attention involves another: from the painter's to the sitter's part in the act of (self-)portrayal.At the ground level, Fictions of the Pose develops a hypothesis about the structure and meaning of portraiture. That foundation supports a first story devoted to the practices and politics of early modern Italian and Dutch portraiture and a second story devoted to Rembrandt's self-portraits, especially those in which he poses in fancy dress as if he were a patron. The author approaches the Rembrandt/Renaissance relation not as an art historian but as an interpreter trained in literary studies, taunted by the challenge of extending the practice of "close reading" from verbal to visual media and fascinated by the way this practice can show how individual works "talk back" to their contexts. The context for Rembrandt, the object and target of his "looking-glass theater," is the structure of patron/painter relations that developed during the Renaissance and influenced the very different conditions of patronage that emerged in the Dutch Republic around the turn of the seventeenth century.The book is in four parts. Parts One and Two comprise an interpretive study of the technical and sociopolitical conditions within which portraiture becomes an important if problematic medium of self-representation in early modern Europe. The major portion of these two sections considers the structure and the consequences of a system of practices and conventions that governs poses in commissioned portraits. In Part Three the scene shifts from Italian to Dutch portraiture. Part Four is devoted to self-portraits by Rembrandt that are interpreted as responses to the conditions depicted in the first three parts. Through a series of close readings of individual works, the author demonstrates the ironic, polemical, and political force of Rembrandt's self-portraits. Bestandsnummer des Verkäufers BTA9780804733236
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7. Fictions of the Pose: Rembrandt Against the Italian Renaissance
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Buchbeschreibung Stanford University Press. Hardback. Zustand: New. New copy - Usually dispatched within 2 working days. Bestandsnummer des Verkäufers B9780804733236
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8. Fictions of the Pose: Rembrandt Against the Italian Renaissance
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Buchbeschreibung Stanford University Press, 2000. Hardcover. Zustand: New. 1. Bestandsnummer des Verkäufers DADAX0804733236
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9. Fictions of the Pose: Rembrandt Against the Italian Renaissance
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Buchbeschreibung Stanford Univ Pr, 2000. Hardcover. Zustand: Brand New. 1st edition. 624 pages. 10.25x7.75x1.75 inches. In Stock. Bestandsnummer des Verkäufers __0804733236
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10. FICTIONS OF THE POSE
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Stanford Uni
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ISBN 13: 9780804733236
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Buchbeschreibung Stanford Uni. Zustand: New. Bestandsnummer des Verkäufers BD13-9780804733236
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