John K.G. Shearman
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Geisteswissenschaften, Kunst, Musik / Kunst
John Shearman makes the plea for a more engaged reading of art works of the Italian Renaissance, one that will recognize the presuppositions of Renaissance artists about their viewers. His book is the first attempt to construct a history of those Renaissance paintings and sculptures that are by design completed outside themselves in or by the spectator, that embrace the spectator into their narrative plot or aesthetic functioning, and that reposition the spectator imaginatively or in time and space. He takes the lead from texts and artists of the period, for these artists reveal themselves as spectators. Among modern historiographical techniques, Reception Theory is closest to the author's method, but Shearman's concern is mostly with anterior relationships with the viewer--that is, relationships conceived and constructed as part of the work's design, making, and positioning.
Shearman proposes unconventional ways in which works of art may be distinguished one from another, and in which spectators may be distinguished, too, and enlarges the accepted field of artistic invention. Furthermore, His argument reflects on the Renaissance itself. What is created in this period tends to be regarded as conventional, or inherent in the nature of painting and sculpture: he maintains that this is a careless, disengaged view that has overlooked the process of discovery by immensely inventive and visually intelllectual artists.
John Shearman is William Door Boardman Professor of Fine Arts at Harvard University. Among his works are Mannerism (Hardmondsworth/Penguin), Raphael's Cartoons in the Collection of Her Majesty the Queen and the Tapestries for the Sistine Chapel (Phaidon), The Early Italian Paintings in teh Collection of Her Majesty the Queen (Cambridge). and Funzione e Illusione (il Saggiatore).
The A.W. Mellon Lectures in the Fine Arts, 1988
Bollingen Series XXXV: 37
Originally Publsihed in 1992
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Romanticism, Antonio Rossellino, The Worship of Venus, Pesaro Madonna, Andrea Solari, Intentionality, Filarete, Lodovico Dolce, Mario Equicola, Adolf von Hildebrand, Antonello da Messina, Sandro Botticelli, Mario Praz, Renaissance art, The Feast of the Gods, Orlando Furioso, Michelangelo, Bacchus and Ariadne, Andrea del Sarto, Paragone, Albrecht Dürer, Lateran Baptistery, Ruggiero (character), Andrea Mantegna, Pontormo, Duke of Florence, Giorgio Vasari, Della Rovere, Las Meninas, The Spirit of the Laws, Cristofano Allori, The Fire in the Borgo, Petrarch, Poliziano, Religion, Cecilia Gallerani, Christ among the Doctors (Dürer), Pope Julius II, Bembo, Ginevra de' Benci, Sleeping Venus (Giorgione), The Philosopher, Hercules and Cacus, Donatello, Pseudo-Bonaventura, Grand manner, Sack of Rome (1527), Famulus, The Vision of the Cross, Catullus, National Gallery of Art, High place, Jan van Eyck, Baptistery, Work of art, Baroque architecture, Giorgione, Master of the Virgo inter Virgines, Tintoretto, Giulio Romano, Sistine Chapel, Feast of the Gods (art), Camera degli Sposi, Basilica, Giovanni Bellini, Phrenology, Diego Velázquez, Cosimo de' Medici, Filippino Lippi, Simone Martini, Aretino, Edward Burne-Jones, Chiaroscuro, Mona Lisa Smile, Reginald Pole, Titian, Galleria Borghese, Mystery play, Putto, Rokeby Venus, Hyperbole, Heroides, Masaccio, Altarpiece, High Renaissance, Counter-Reformation, Pietro da Cortona, Persius, The School of Athens, Caravaggio, Saint Roch, Giovanni Pisano, Parmigianino, Poetry, Richard Wollheim, Epigram, Madonna of the Harpies, Andrea Fulvio, Conceit, Marriage of the Virgin (Perugino)