MARC Record from marc_columbia

LEADER: 03612cam a2200505Ii 4500
001 11646752
005 20151221155602.0
008 140117t20152015enka b 001 0 eng d
019 $a884810809$a922033033$a922281371
020 $a9781909400115$q(hardcover)
020 $a1909400114$q(hardcover)
035 $a(OCoLC)ocn868825370
035 $a(OCoLC)868825370$z(OCoLC)884810809$z(OCoLC)922033033$z(OCoLC)922281371
035 $a(NNC)11646752
040 $aERASA$beng$erda$cERASA$dBTCTA$dYDXCP$dWAU$dOCLCO$dOCLCF$dOCLCO
041 1 $aeng$hfre
050 4 $aND1288$b.S7613 2015
082 04 $a750
100 1 $aStoichiță, Victor Ieronim,$eauthor.
240 10 $aInstauration du tableau.$lEnglish
245 14 $aThe self-aware image :$ban insight into early modern metapainting /$cVictor I. Stoichita ; English translation by Anne-Marie Glasheen ; revised by Lorenzo Pericolo.
250 $aNew, improved, and updated edition / with an introduction by Lorenzo Pericolo.
264 1 $aLondon ;$aTurnhout :$bHarvey Miller Publishers, an imprint of Brepols Publishers,$c[2015]
264 4 $c©2015
300 $a337 pages :$bcolor illustrations ;$c26 cm.
336 $atext$btxt$2rdacontent
336 $astill image$bsti$2rdacontent
337 $aunmediated$bn$2rdamedia
338 $avolume$bnc$2rdacarrier
490 1 $aHarvey Miller studies in Baroque art
504 $aIncludes bibliographical references and index.
505 0 $aPart One. The Surprised Eye -- Part Two. The Inquiring Eye -- Part Three. The Methodical Eye.
520 8 $aThe notion of the painting as an art object is a relatively recent invention. This book offers an impressive and complex account of the origins and development of this invention from the late Renaissance through the end of the baroque age. In comparison to the "old" image characterized by its preeminently liturgical function and its display in a predetermined space, the painting as the "new" image is increasingly autonomous and movable. As a modern art object, the painting becomes the focus of an aesthetic contemplation through its insertion into a gallery or a collection. As a result of the Protestant iconoclasm and the advancement of scientific knowledge, the essence and role of the image is put into question and thematized not only by theologians and scholars, but especially by artists. The painting thus becomes a field of visual experimentation in which art reflects on itself, its potential, its limits, its truth, and its nothingness. The representation of windows, doors, niches, mirrors, and paintings enable artists to embed the image within the image, to "frame" the fictiveness of the image in order to deceive, puzzle, and challenge the beholder. The pictorial devices through which artists introduce their authorial self into the image and stage the making of the image itself form the foundation of a new poetics: the poetics of metapainting.
650 0 $aPainters$xPsychology.
650 0 $aPainting, Renaissance$xThemes, motives.
650 0 $aPainting, Modern$xThemes, motives.
650 0 $aMetacognition.
650 7 $aMetacognition.$2fast$0(OCoLC)fst01017513
650 7 $aPainters$xPsychology.$2fast$0(OCoLC)fst01050547
650 7 $aPainting, Modern$xThemes, motives.$2fast$0(OCoLC)fst01051017
650 7 $aPainting, Renaissance$xThemes, motives.$2fast$0(OCoLC)fst01051061
700 1 $aGlasheen, Anne-Marie,$d1945-$etranslator.
700 1 $aPericolo, Lorenzo,$d1966-$ewriter of supplementary textual content.
830 0 $aHarvey Miller studies in Baroque art.
852 00 $bfaxlc$hND1288$i.S7613 2015g