Name: Federico Barocci: Inspiration and Innovation in Early Modern Italy (Visual Culture in Early Modernity) (en Inglés)
Price: 138248.00 COP
Availability: InStock
Author: Mann, Judith W.
ISBN: 9780367331047

portada Federico Barocci: Inspiration and Innovation in Early Modern Italy (Visual Culture in Early Modernity) (en Inglés)

Formato

Libro Físico

Ilustrado por

Judith W. Mann

Editorial

Routledge

Autor

Mann, Judith W.

Idioma

Inglés

N° páginas

224

Encuadernación

Tapa Blanda

Dimensiones

24.1 x 17.3 x 1.0 cm

Peso

0.43 kg.

ISBN13

9780367331047

Categorías

Europa
Grupos religiosos y comunidades religiosas
Historia del arte
Monografías sobre el arte
Arte religioso y sus ceremonias

Federico Barocci: Inspiration and Innovation in Early Modern Italy (Visual Culture in Early Modernity) (en Inglés)

Judith W. Mann (Ilustrado por) · Routledge · Tapa Blanda

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Origen: Estados Unidos (Costos de importación incluídos en el precio)

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Reseña del libro "Federico Barocci: Inspiration and Innovation in Early Modern Italy (Visual Culture in Early Modernity) (en Inglés)"

Reviewers of a recent exhibition termed Federico Barocci (ca. 1533-1612), 'the greatest artist you've never heard of'. One of the first original iconographers of the Counter Reformation, Barocci was a remarkably inventive religious painter and draftsman, and the first Italian artist to incorporate extensive color into his drawings. The purpose of this volume is to offer new insights into Barocci's work and to accord this artist, the dates of whose career fall between the traditional Renaissance and Baroque periods, the critical attention he deserves. Employing a range of methodologies, the essays include new ideas on Barocci's masterpiece, the Entombment of Christ; fresh thinking about his use of color in his drawings and innovative design methods; insights into his approach to the nude; revelations on a key early patron; a consideration of the reasons behind some of his most original iconography; an analysis of his unusual approach to the marketing of his pictures; an exploration of some little-known aspects of his early production, such as his reliance on Italian majolica and contemporary sculpture in developing his compositions; and an examination of a key Barocci document, the post mortem inventory of his studio. A translated transcription of the inventory is included as an appendix.