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The moment of self-portraiture in German renaissance art

著者: Joseph Leo Koerner
出版商: Chicago : University of Chicago Press, ©1993.
版本/格式:   图书 : 英语查看所有的版本和格式
数据库:WorldCat
提要:
The self-portrait has become a model of what art is: the artwork is the image of its maker, and understanding the work means recovering from it an original vision of the artist. In this ground-breaking work, Joseph Leo Koerner analyzes the historical origin of this model in the art of Albrecht Durer and Hans Baldung Grien, the first modern self-portraitist and his principal disciple. By doing so, he develops new  再读一些...
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提及的人: Albrecht Dürer; Albrecht Dürer; Hans Baldung; Hans Baldung
材料类型: 互联网资源
文件类型: 书, 互联网资源
所有的著者/提供者: Joseph Leo Koerner
ISBN: 0226449971 9780226449975 0226449998 9780226449999
OCLC号码: 25713291
描述: xx, 543 p. : ill. ; 29 cm.
内容: 1. Prosopopoeia. 2. Self and Epoch. 3. Organa of History --
Pt. 1. The Project of Self-Portraiture: Albrecht Durer. 4. The Artist as Christ. 5. Not Made by Human Hands. 6. Figures of Omnivoyance. 7. The Divine Hand. 8. The Hairy, Bearded Painter. 9. Representative Man. 10. The Law of Authorship. 11. Bas-de-Page --
Pt. 2. The Mortification of the Image: Hans Baldung Grien. 12. Durer Disfigured. 13. Death and Experience. 14. Death as Hermeneutic. 15. The Crisis of Interpretation. 16. Homo Interpres in Bivio: Cranach and Luther. 17. The Death of the Artist.
责任: Joseph Leo Koerner.
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摘要:

In this study, Joseph Koerner establishes the character of Renaissance art in Germany and examines how artists such as Albrecht Durer and Hans Baldung Grien reflected in their masterworks the  再读一些...

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schema:description"1. Prosopopoeia. 2. Self and Epoch. 3. Organa of History -- Pt. 1. The Project of Self-Portraiture: Albrecht Durer. 4. The Artist as Christ. 5. Not Made by Human Hands. 6. Figures of Omnivoyance. 7. The Divine Hand. 8. The Hairy, Bearded Painter. 9. Representative Man. 10. The Law of Authorship. 11. Bas-de-Page -- Pt. 2. The Mortification of the Image: Hans Baldung Grien. 12. Durer Disfigured. 13. Death and Experience. 14. Death as Hermeneutic. 15. The Crisis of Interpretation. 16. Homo Interpres in Bivio: Cranach and Luther. 17. The Death of the Artist."@en
schema:description"The self-portrait has become a model of what art is: the artwork is the image of its maker, and understanding the work means recovering from it an original vision of the artist. In this ground-breaking work, Joseph Leo Koerner analyzes the historical origin of this model in the art of Albrecht Durer and Hans Baldung Grien, the first modern self-portraitist and his principal disciple. By doing so, he develops new approaches to the visual image and to its history in early modern European culture. Koerner establishes the character of German Renaissance art by considering how Durer's and Baldung's pictures register changes in the status of the self during the sixteenth century. He contends that Durer's self-portrait of 1500, modeled after icons of Christ, reinvented art for new conditions of piety, labor, patronage, and self-understanding at the eve of the Reformation. So foundational is this invention to modern aesthetics, Koerner argues, that interpreting it takes us to the limits of traditional art-historical method. Self-portraiture becomes legible less through a history leading up to it, or through a sum of contexts that occasion it, than through its historical sight-line to the present. After a thorough examination of Durer's startlingly new self-portraits, the author turns to the work of Baldung, Durer's most gifted pupil, and demonstrates how the apprentice willfully disfigured Durer's vision. Baldung replaced the master's self-portraits with some of the most obscene and bizarre pictures in the history of art. In images of nude witches, animated cadavers, and copulating horses, Baldung portrays the debased self of the viewer as the true subject of art. The Moment of Self-Portraiture thus unfolds as passages from teacher to student, artist to viewer, reception, all within a culture that at once deified and abhorred originality. Koerner writes a new, philosophical art history in which the visual image is both document of history and living vehicle of thought. He demonstrates the extent to which novel ideas about self and interpretation invented by Renaissance artists and Reformation thinkers informed modern hermeneutics and helped to found our deepest assumptions about art and its messages."@en
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