Book summaryThe traditional story of Renaissance painting is one of inexorable progress toward the exact representation of the real and visible. Georges Didi-Huberman questions this view with a new way of looking at the 15th-century painter Fra Angelico. In doing so, he alters our understanding of both early Renaissance art and the processes of art history. 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 16th 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. Media reviews"A startling book that radically transforms our understanding of the relationship between subject matter and the materials of painting." |
Fra Angelico: Dissemblance and Figurationby Didi-Huberman, Georges and Jane Marie Todd
Book desription: University Of Chicago Press,, 1995. Hardcover. New. Factory sealed. 290pp, with 22 color plates and 69 halftones. 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.
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