| Record ID | marc_columbia/Columbia-extract-20221130-005.mrc:155540899:2866 |
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LEADER: 02866fam a2200373 a 4500
001 2117749
005 20220615205738.0
008 961011t19971997nyua b 001 0 eng
010 $a 96045828
020 $a081471255X (clothbound : acid-free paper)
020 $a0814712568 (pbk. : acid-free paper)
035 $a(OCoLC)35758216
035 $a(OCoLC)ocm35758216
035 $9ANF4900CU
035 $a(NNC)2117749
035 $a2117749
040 $aDLC$cDLC$dDLC$dOrLoB-B
050 00 $aN70$b.B199 1997
082 00 $a701$221
100 1 $aBarasch, Moshe.$0http://id.loc.gov/authorities/names/n80060422
245 14 $aThe language of art :$bstudies in interpretation /$cMoshe Barasch.
260 $aNew York :$bNew York University Press,$c[1997], ©1997.
300 $ax, 367 pages :$billustrations ;$c24 cm
336 $atext$btxt$2rdacontent
337 $aunmediated$bn$2rdamedia
504 $aIncludes bibliographical references (p. 319-357) and index.
505 00 $tThe Language of Art --$tLanguage of Art: Some Historical Notes --$g1.$tVisual Idioms --$g2.$tThe Image of the Ruler in Gnostic Imagination --$g3.$tVisual Syncretism: A Case Study --$g4.$tDisguised Symbolism --$g5.$tJob: The History of an Exemplum Doloris --$g6.$tThe Dreamland in Renaissance Imagination --$g7.$tThe Dream in the Art and Lore of Late Antiquity --$g8.$tDe Risu: Laughter in Renaissance of Psychology, Literature, and Art --$g9.$tThe Demonization of Classical Art --$g10.$tSymbols of Authority: Roman Imperial Images in the Middle Ages --$g11.$tTime in the Visual Arts --$g12.$tThe Veil: Representations of the Secret in the Visual Arts --$g13.$tHow the Hidden Becomes Visible --$g14.$tThe Spectator and the Eloquence of Renaissance Painting.
520 $aMoshe Barasch, one of the world's great authorities on art theory, here tackles the question of how art works as language. Barasch shows exactly how, once an art work is seen and understood, a new communicative function is effectively added to the work.
520 8 $aThe argument moves from the art and civilization of ancient Egypt to that of modern Europe and effortlessly reveals a full and surprising range of language in art - from the magical to the impious, from the ambiguous to the didactic, scientific, and propagandistic.
520 8 $aConsistently original and thought provoking, Barasch discusses various forms of art in turn. He deals with equal authority with sculpture, paintings, murals, statuary, woodcuts, bas-relief, even music. Over one hundred illustrations are featured as an integral part of the discussion.
650 0 $aArt$xPhilosophy.$0http://id.loc.gov/authorities/subjects/sh85007494
650 0 $aArt$xThemes, motives.$0http://id.loc.gov/authorities/subjects/sh85007507
650 0 $aSymbolism in art.$0http://id.loc.gov/authorities/subjects/sh85131415
852 80 $bfax$hN61$iB233