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Fra Angelico : dissemblance & figuration

Author: Georges Didi-Huberman; Angelico, fra
Publisher: Chicago : University of Chicago Press, 1995.
Edition/Format:   Book : EnglishView all editions and formats
Database:WorldCat
Summary:
A Florentine painter who took Dominican vows, Fra Angelico (1400-1455) approached his work as a largely theological project. For him, the problems of representing the unrepresentable, of portraying the divine and the spiritual, mitigated the more secular breakthroughs in imitative technique. Didi-Huberman explores Fra Angelico's solutions to these problems - his use of color to signal approaching visibility, of  Read more...
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Details

Genre/Form: Criticism, interpretation, etc
Named Person: Angelico, fra; Angelico, fra
Material Type: Internet resource
Document Type: Book, Internet Resource
All Authors / Contributors: Georges Didi-Huberman; Angelico, fra
ISBN: 0226148130 9780226148137
OCLC Number: 31012633
Language Note: Translation of: Fra Angelico.
Description: xiv, 274 pages, [24] pages of plates : illustrations (some color) ; 29 cm
Other Titles: Fra Angelico.
Responsibility: Georges Didi-Huberman ; translated by Jane Marie Todd.
More information:

Abstract:

A Florentine painter who took Dominican vows, Fra Angelico (1400-1455) approached his work as a largely theological project. For him, the problems of representing the unrepresentable, of portraying the divine and the spiritual, mitigated the more secular breakthroughs in imitative technique. Didi-Huberman explores Fra Angelico's solutions to these problems - his use of color to signal approaching visibility, of marble to recall Christ's tomb, of paint drippings to simulate (or stimulate) holy anointing. He shows how the painter employed emptiness, visual transformation, and displacement to give form to the mystery of faith. In the work of Fra Angelico, an alternate strain of Renaissance painting emerges to challenge rather than reinforce verisimilitude. Didi-Huberman traces this disruptive impulse through theological writings and iconographic evidence and identifies a widespread tradition in Renaissance art that ranges from Giotto's break with Byzantine image-making well into the sixteenth century. He reveals how the techniques that served this ultimately religious impulse may have anticipated the more abstract characteristics of modern art, such as color fields, paint spatterings, and the absence of color. Part of Didi-Huberman's large-scale rethinking of art theory and history, and the first of his books to appear in English translation, Fra Angelico is a fitting introduction to one of the most original and celebrated writers in the world of art history and criticism.

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