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List of illustrations

  • Representational components
  • Analysis into "Parts"
  • Pedagogical "Elements"
  • "Virtues"
  • Lodovico Gonzaga greeting his Son Cardinal Francesco
  • Alberti's perspective construction and four decisions
  • Vault with "Navicella" after Giotto (detail)
  • Self-Portrait
  • Sheet of studies with (a) recto, costume with d'Este emblems, (b) verso, maenads from a Bacchic sarcophagus
  • Dioscuros
  • Leonello d'Este, Marquis of Ferrara, 1441-50
  • The Justice of Trajan, detail with St. Gregory finding Trajan's tongue
  • St Jerome
  • Laocoön Group
  • The Resurrection of Christ
  • The Resurrection of Christ, detail
  • The Resurrection of Christ, detail
  • The Resurrection of Christ, detail
  • The Resurrection of Christ, detail
  • The Resurrection of Christ, detail
  • The Resurrection of Christ, detail
  • The Resurrection of Christ, pinnacle panel from the High Altarpiece of San Pier Maggiore, Florence
  • The Maries at the Tomb, pinnacle panel from the High Altarpiece of San Pier Maggiore, Florence
  • The Resurrection of Christ, detail from the Klosterneuburg Altar
  • The Resurrection of Christ, predella panel from the High Altarpiece of Santa Croce, Florence
  • The Resurrection of Christ, predella panel from the San Zeno altarpiece
  • The Resurrection of Christ, detail
  • Polyptych with the Resurrection
  • Christ in Judgment
  • The Battle of Heraclius and Chosroes, detail
  • False continuations — X and Y — on the foreshortened banner
  • Solid tonal forms and outlined forms in foveal and peripheral vision
  • The "Three-Circle Scheme" of Byzantinizing art
  • The Resurrection of Christ, detail
  • The Exaltation of the Cross, detail
  • The visible areas of the sepulchre (cornice omitted)
  • A head "in proper form," preparatory to foreshortening
  • A picture of three vertical poles is viewed in front in A, from an angle in B
  • The effect of fig. 33 projected for the tree lines in the "Resurrection
  • The eye
  • Title page of "Libro de locchio morale et spirituale
Free
Description: Words for Pictures: Seven Papers on Renaissance Art and Criticism
Table of Contents
PublisherYale University Press
https://doi.org/10.37862/aaeportal.00179.001
Free
Description: Words for Pictures: Seven Papers on Renaissance Art and Criticism
There is nothing to gain by making an argument here that modern art criticism begins in the Italian Renaissance. The issue would become too much a matter of quite what one chooses the properties of modern art criticism to be. Depending on this choice, equally strong or stronger cases could be made for, say, eighteenth-century or late nineteenth-century France. Yet no one who has thought about it at all would doubt that deep in modern ways of thinking about art, down in the intellectual substance …
PublisherYale University Press
https://doi.org/10.37862/aaeportal.00179.002
Description: Words for Pictures: Seven Papers on Renaissance Art and Criticism
I. VALUES There is an initial set of thirty or forty words commonly used in the fifteenth century to distinguish kinds of interest in pictures. These words were deployed confidently and, though they do not always signal athletic thinking about pictures, they are a basis on which almost all discussion of art stood. It is useless to complain if they do not distinguish or even cover some quality in Renaissance art that now seems important. They are a fact of the culture. …
PublisherYale University Press
Related print edition pages: pp.1-26
https://doi.org/10.37862/aaeportal.00179.003

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Description: Words for Pictures: Seven Papers on Renaissance Art and Criticism
Leon Battista Alberti’s last book, De iciarchia of 1468, a dialogue treatise on the good citizen, begins with this scene: I was coming back down the hill from the church of S. Miniato at Florence, up to which I often used to go for exercise, partly to satisfy the requirements of religion, partly to fortify my health. On the way back, on the bridge over the River Arno … I met Niccolo Cerretani and Paolo Niccolini, prudent and moderate gentlemen, and well disposed towards myself.
PublisherYale University Press
Related print edition pages: pp.27-38
https://doi.org/10.37862/aaeportal.00179.004

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Description: Words for Pictures: Seven Papers on Renaissance Art and Criticism
At the beginning of his serial dialogue De politia litteraria, or On Literary Elegance, Angelo Decembrio remarks that his models are the Attic Nights of Aulus Gellius and Quintilian’s Education of an Orator, but it is hard to see why he should think this. His matter is more varied and the form from which he sets out, at least, is the type of humanist dialogue derived from Cicero’s De oratore. The book is set up as a series of conversations in the circle of …
PublisherYale University Press
Related print edition pages: pp.39-67
https://doi.org/10.37862/aaeportal.00179.005

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Description: Words for Pictures: Seven Papers on Renaissance Art and Criticism
Rudolph Agricola (1444–1485) who was born Rolef Huysman in Friesland, has long been reckoned the first northern European humanist on the Italian pattern: ‘primus omnium aurulam quandam melioris litteraturae nobis invexit ex Italia’ (Erasmus). And it seems he was, among other accomplishments, an amateur painter. …
PublisherYale University Press
Related print edition pages: pp.69-82
https://doi.org/10.37862/aaeportal.00179.006

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Description: Words for Pictures: Seven Papers on Renaissance Art and Criticism
A great deal has been made of the complexity of the Italian concept of disegno during the Renaissance, and certainly the term was very mobile. It was also powerful: the disegno episode is one of few in European art criticism when the relation between the artist’s mind and hand has been set up in a form that invites reflection. But the complexities of disegno really seem more lexical than theoretical, and the mobility is a matter of puns no articulate native Italian speaker …
PublisherYale University Press
Related print edition pages: pp.83-97
https://doi.org/10.37862/aaeportal.00179.007

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Description: Words for Pictures: Seven Papers on Renaissance Art and Criticism
Behold! from deep mass of earth and from great ruins’
heart, long time has brought returned Laocoon again;
that Laocoon which once in princely halls
had place and dignified, O Titus, your own house …
PublisherYale University Press
Related print edition pages: pp.98-116
https://doi.org/10.37862/aaeportal.00179.008

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Description: Words for Pictures: Seven Papers on Renaissance Art and Criticism
I PICTORIAL EVENTS Looking at The Resurrection of Christ (figs 11–17) one soon meets a series of pictorial events, as I shall heavily call them sometimes – ‘pictorial’ in that they are proper not just to seeing but to seeing a depiction on a plane surface; and ‘events’ in the sense that one may be led to consider them as outcomes from conditions. These events must be part of a sense that the picture has a character beyond the sum of objects represented. …
PublisherYale University Press
Related print edition pages: pp.117-164
https://doi.org/10.37862/aaeportal.00179.009

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Description: Words for Pictures: Seven Papers on Renaissance Art and Criticism
Index
PublisherYale University Press
https://doi.org/10.37862/aaeportal.00179.010
Words for Pictures: Seven Papers on Renaissance Art and Criticism
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