This book was ground-breaking for its time because of Freedberg's insistence on a new? approach to the study of images that focused on writing biographies of particular images which highlighted the historical and locally constructed responses, and what those responses could tell us about the psychology of the human response to images generally, rather than the more "traditional" art-historical aesthetic analysis approach. "Power of Images" is organized thematically with topics such as versimiltude, iconoclasm, and desire played out in front of the eyes of particular representative images. One of best aspects of this book is how clearly Freedberg takes seriously the notion of "presence" in images. The biggest limitation of this book is that it is almost completely bereft of information on non-pre-Enlightenment-European-Christian images. Rather than recusing himself from treating say Thai amulets, Freedberg overextends his conclusions in an unfortunately totalizing metanarrative. To be specific, I disagree with his brief rejoinder aimed at Stanley Tambiah's "Buddhist Saints of the Forest and the Cult of Amulets," and generally, I think many of Freedberg's conclusions would map poorly onto Tibetan or Japanese sacred statuary. In conclusion, I would still highly recommend this as a first-book for someone who wants to either learn about how to begin thinking about (religious) imagery and our responses to it, or someone who is looking for a wealth of short biographies and references to information on some of the most famous European Christian images.

Mr. Danto argues that recent developments in the artworld, in particular the production of works of art that cannot be told from ordinary things, make urgent the need for a new theory of art and make plain the factors such a theory can and cannot involve. In the course of constructing such a theory, he seeks to demonstrate the relationship between philosophy and art, as well as the connections that hold between art and social institutions and art history. The book distinguishes what belongs to artistic theory from what has traditionally been confused with it, namely aesthetic theory and offers as well a systematic account of metaphor, expression, and style, together with an original account of artistic representation. A wealth of examples, drawn especially from recent and contemporary art, illuminate the argument.

In this generously illustrated book, Anne Hollander examines the representation of the body and clothing in Western art, from Greek sculpture and vase painting through medieval and renaissance portraits, to contemporary films and fashion photography. First published ahead of its time, this book has become a classic.

A study of the changes in the definition and conception of the term "idea," from Plato to the 17th century, when the modern definition emerged.

Roston demonstrates that what emerges is not a fixed or monolithic pattern for each generation but a dynamic series of responses to shared challenges. The book relates leading English writers and literary modes to contemporary developments in architecture, painting, and sculpture, exploring by a close reading of the texts and the artistic works the insights such comparison offers.Originally published in 1987.The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

A fascinating exploration of art from the Renaissance to modern times by one of America's most distinguished art historians. Focusing on specific masterpieces like Michelangelo's David , Bernini's image of the Sun King, and Picasso's lithographs of bulls, Lavin addresses creations that seek to define the present expressly in terms of the past. "I am an inveterate source-monger. My work, i.e., the actual labor I expend in archives, libraries, museums, churches, etc., is mainly that of a prospector digging and sifting to find a rare and shiny nugget--a work of art, a significant text, an idea--sufficiently analogous and available to suggest it might actually have been pertinent to the matter at hand." Thus does Irving Lavin venture forth, and the treasures he finds are brought back to us in these seven essays. The past plays an explicit role in his explorations. In focusing on specific works such as Donatello's bronze pulpits in San Lorenzo, Bernini's image of the Sun King, and Picasso's lithographs of bulls, Lavin addresses creations that seek to define the present expressly in terms of the past. Also, he persuasively shows how art can portray human individuality within philosophical, religious, political, ideological, and cultural frameworks. Originally delivered as part of the Una's Lectures at the University of California, Berkeley, the essays show the richness of the artists' sources by tracing certain motifs and traditions back in time. Generously accompanied by photographs that illustrate Lavin's explorations, this is a work of importance to both art historians and lovers of art. A fascinating exploration of art from the Renaissance to modern times by one of America's most distinguished art historians. Focusing on specific masterpieces like Michelangelo's David , Bernini's image of the Sun King, and Picasso's lithographs of bulls, Lavin addresses creations that seek to define the present expressly in terms of the past. "I am an inveterate source-monger. My work, i.e., the actual labor I expend in archives, libraries, museums, churches, etc., is mainly that of a prospector digging and sifting to find a rare and shiny nugget--a work of art, a significant text, an idea--sufficiently analogous and available to suggest it might actually have been pertinent to the matter at hand." Thus does Irving Lavin venture forth, and the treasures he finds are brought back to us in these seven essays. The past plays an explicit role in his explorations. In focusing on specific works such as Donatello's bronze pulpits in San Lorenzo, Bernini's image of the Sun King, and Picasso's lithographs of bulls, Lavin addresses creations that seek to define the present expressly in terms of the past. Also, he persuasively shows how art can portray human individuality within philosophical, religious, political, ideological, and cultural frameworks. Originally delivered as part of the Una's Lectures at the University of California, Berkeley, the essays show the richness of the artists' sources by tracing certain motifs and traditions back in time. Generously accompanied by photographs that illustrate Lavin's explorations, this is a work of importance to both art historians and lovers of art.