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Brunelleschi's Egg : Nature, Art, and Gender in Renaissance Italy.

作者: Mary D Garrard
出版商: Berkeley : University of California Press, 2010.
版本/格式:   電子書 : 文獻 : 英語所有版本和格式的總覽
資料庫:WorldCat
提要:
Feminist historians of science and philosophy have shown that during the Italian Renaissance, the profound shift in the concept of nature--from an organic worldview to the scientific--was assisted by the gender metaphor that defined nature as female. In this provocative and groundbreaking book, Mary D. Garrard extends this analysis to the history of art and proposes that the larger shift was both anticipated and  再讀一些...
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類型/形式: Electronic books
History
其他的實體格式: Print version:
Garrard, Mary D.
Brunelleschi's Egg : Nature, Art, and Gender in Renaissance Italy.
Berkeley : University of California Press, ©2010
資料類型: 文獻
文件類型: 圖書, 電腦資料
所有的作者/貢獻者: Mary D Garrard
ISBN: 9780520947474 0520947479
OCLC系統控制編碼: 794663711
描述: 1 online resource (443 pages)
内容: Cover; Contents; Preface and Acknowlegments; Introduction; PART I. GREAT MOTHER NATURE; One. The Gendering of Nature as Female: From Prehistory through the Middle Ages; PART II. NATURE AND ART IN THE QUATTROCENTO: FROM PUPIL TO EQUAL; Two. Technology and the Mastery of Physical Nature: Brunelleschi and Alberti; Three. Genesis and the Reproduction of Life: Masaccio and Michelangelo; Four. The Rebirth of Venus and the Feminization of Beauty: Botticelli; PART III. A BALANCE OF POWER: PICTORIAL METAPHORS FOR NATURE IN TRANSITION; Five. Nature's Special Child: Leonardo da Vinci. Six. The Goddess in Arcady: GiorgionePART IV. ART AND NATURE IN THE CINQUECENTO: FROM COMPETITOR TO MASTER; Seven. Love and Death in Venice: Titian; Eight. Art against Nature: Raphael, the Early Mannerists, and Late Michelangelo; Nine. Natura Bound: The Later Tuscan Mannerists; Epilogue; Notes; Bibliography; Illustrations; Index; A; B; C; D; E; F; G; H; I; J; K; L; M; N; O; P; Q; R; S; T; U; V; W; X; Y; Z.

摘要:

Feminist historians of science and philosophy have shown that during the Italian Renaissance, the profound shift in the concept of nature--from an organic worldview to the scientific--was assisted by the gender metaphor that defined nature as female. In this provocative and groundbreaking book, Mary D. Garrard extends this analysis to the history of art and proposes that the larger shift was both anticipated and mediated by the visual arts. In case studies of such major figures as Brunelleschi, Masaccio, Botticelli, Leonardo da Vinci, Michelangelo, Pontormo, Giorgione, and Titian, Garrard exam.

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