ARASSE Daniel.
Man in Perspective. The Primitives of Italy.
Hazan
Regular price
€25,00
| N° d'inventaire | 15488 |
| Format | 24 x 28 |
| Détails | 288 p., 140 color illustrations, paperback. |
| Publication | Paris, reissued 2011 |
| Etat | Nine |
| ISBN | 9782754110709 |
New edition in the Hazan Essentials collection, which presents the bestsellers published by Hazan Editions in a "coffee table" format.
In his quest for "what the men of the 14th and 15th centuries were looking for through images," the renowned art historian Daniel Arasse emphasizes in this work "the diversity of local cultures and traditions, alongside the Tuscan model." With him, we look with fresh eyes at "these Italian images of the Trecento and Quattrocento. According to him, the men of Italy formulated a new representation of the world and of man, based on a progressive awareness of their historical dimensions and which sometimes resonates as a call to take responsibility for the whole of history."
Daniel Arasse favors a critical approach to iconography and art history based on a truly exceptional form of visual exercise whose powerful effect and analytical efficiency are unmistakable. This work immediately proposes a dual point of view, a constant back-and-forth between the notion of individuality and that of school. The author gradually develops the profile of the primitive not as a simple precursor but as the "other" of the modern, by revealing the originality and variety of local experiments.
In his quest for "what the men of the 14th and 15th centuries were looking for through images," the renowned art historian Daniel Arasse emphasizes in this work "the diversity of local cultures and traditions, alongside the Tuscan model." With him, we look with fresh eyes at "these Italian images of the Trecento and Quattrocento. According to him, the men of Italy formulated a new representation of the world and of man, based on a progressive awareness of their historical dimensions and which sometimes resonates as a call to take responsibility for the whole of history."
Daniel Arasse favors a critical approach to iconography and art history based on a truly exceptional form of visual exercise whose powerful effect and analytical efficiency are unmistakable. This work immediately proposes a dual point of view, a constant back-and-forth between the notion of individuality and that of school. The author gradually develops the profile of the primitive not as a simple precursor but as the "other" of the modern, by revealing the originality and variety of local experiments.
In his quest for "what the men of the 14th and 15th centuries were looking for through images," the renowned art historian Daniel Arasse emphasizes in this work "the diversity of local cultures and traditions, alongside the Tuscan model." With him, we look with fresh eyes at "these Italian images of the Trecento and Quattrocento. According to him, the men of Italy formulated a new representation of the world and of man, based on a progressive awareness of their historical dimensions and which sometimes resonates as a call to take responsibility for the whole of history."
Daniel Arasse favors a critical approach to iconography and art history based on a truly exceptional form of visual exercise whose powerful effect and analytical efficiency are unmistakable. This work immediately proposes a dual point of view, a constant back-and-forth between the notion of individuality and that of school. The author gradually develops the profile of the primitive not as a simple precursor but as the "other" of the modern, by revealing the originality and variety of local experiments.