Michelangelo's nose : a myth and its maker

Hometown Postcards
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Unread store shelf copy with just a hint of wear to covers. Includes bibliographical references (p. ... Mehr erfahrenÜber den Artikelzustand
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Zuletzt aktualisiert am 28. Sep. 2024 00:38:58 MESZAlle Änderungen ansehenAlle Änderungen ansehen

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Hinweise des Verkäufers
“Unread store shelf copy with just a hint of wear to covers. Includes bibliographical references ...
ISBN
9780271006956
Kategorie

Über dieses Produkt

Product Identifiers

Publisher
Pennsylvania STATE University Press
ISBN-10
0271006951
ISBN-13
9780271006956
eBay Product ID (ePID)
77495

Product Key Features

Number of Pages
192 Pages
Language
English
Publication Name
Michelangelo's Nose : a Myth and Its Maker
Publication Year
1990
Subject
Individual Artists / General, Criticism & Theory, Artists, Architects, Photographers, History / Renaissance
Type
Textbook
Subject Area
Art, Biography & Autobiography
Author
Paul Barolsky
Format
Hardcover

Dimensions

Item Height
1 in
Item Weight
20 Oz
Item Length
1 in
Item Width
1 in

Additional Product Features

Intended Audience
Scholarly & Professional
LCCN
90-007506
Reviews
"What gives such sparkle to Barolsky's account is its constant movement to very diverse themes, which all are connected, still, with his central concern, Michelangelo's self-image and his art. So, when he discusses Hegel and Pater on art as self-expression, Montaigne's visit to Italy and his view of Socrates, Michelangelo's gift giving, and the relation of Michelangelo and Machiavelli to Pope Julius II--all these seemingly various themes take us back . . . to the Renaissance notion of the creation of an artistic persona and Barolsky's account of why that culture placed great value on this achievement." -- Journal of Aesthetics and Art Criticism, "Often whimsical, yet deeply erudite, Barolsky's treatment of Michelangelo's nose as the center of his autobiography, self-creation, and iconography is a stimulating and suggestive book." -Lectura Dantis, "What gives such sparkle to Barolsky's account is its constant movement to very diverse themes, which all are connected, still, with his central concern, Michelangelo's self-image and his art. So, when he discusses Hegel and Pater on art as self-expression, Montaigne's visit to Italy and his view of Socrates, Michelangelo's gift giving, and the relation of Michelangelo and Machiavelli to Pope Julius II--all these seemingly various themes take us back . . . to the Renaissance notion of the creation of an artistic persona and Barolsky's account of why that culture placed great value on this achievement." --Journal of Aesthetics and Art Criticism, "Barolsky's book has given us a compelling view of Michelangelo as a kind of proto-Romantic 'Ubermensch' participating in the often terrifying epic of his own creation." - Italica, "Barolsky's book has given us a compelling view of Michelangelo as a kind of proto-Romantic 'Ubermensch' participating in the often terrifying epic of his own creation." -Italica, &"Barolsky&'s book has given us a compelling view of Michelangelo as a kind of proto-Romantic 'Ubermensch&' participating in the often terrifying epic of his own creation.&" &-Italica, &"What gives such sparkle to Barolsky&'s account is its constant movement to very diverse themes, which all are connected, still, with his central concern, Michelangelo&'s self-image and his art. So, when he discusses Hegel and Pater on art as self-expression, Montaigne&'s visit to Italy and his view of Socrates, Michelangelo&'s gift giving, and the relation of Michelangelo and Machiavelli to Pope Julius II&-all these seemingly various themes take us back . . . to the Renaissance notion of the creation of an artistic persona and Barolsky&'s account of why that culture placed great value on this achievement.&" &-Journal of Aesthetics and Art Criticism, "What gives such sparkle to Barolsky's account is its constant movement to very diverse themes, which all are connected, still, with his central concern, Michelangelo's self-image and his art. So, when he discusses Hegel and Pater on art as self-expression, Montaigne's visit to Italy and his view of Socrates, Michelangelo's gift giving, and the relation of Michelangelo and Machiavelli to Pope Julius II-all these seemingly various themes take us back . . . to the Renaissance notion of the creation of an artistic persona and Barolsky's account of why that culture placed great value on this achievement." -Journal of Aesthetics and Art Criticism, "Barolsky's book has given us a compelling view of Michelangelo as a kind of proto-Romantic 'Ubermensch' participating in the often terrifying epic of his own creation." -- Italica, "Barolsky's book has given us a compelling view of Michelangelo as a kind of proto-Romantic 'Ubermensch' participating in the often terrifying epic of his own creation." --Italica, "Often whimsical, yet deeply erudite, Barolsky's treatment of Michelangelo's nose as the center of his autobiography, self-creation, and iconography is a stimulating and suggestive book." --Lectura Dantis, "What gives such sparkle to Barolsky's account is its constant movement to very diverse themes, which all are connected, still, with his central concern, Michelangelo's self-image and his art. So, when he discusses Hegel and Pater on art as self-expression, Montaigne's visit to Italy and his view of Socrates, Michelangelo's gift giving, and the relation of Michelangelo and Machiavelli to Pope Julius II-all these seemingly various themes take us back . . . to the Renaissance notion of the creation of an artistic persona and Barolsky's account of why that culture placed great value on this achievement." - Journal of Aesthetics and Art Criticism, &"Often whimsical, yet deeply erudite, Barolsky&'s treatment of Michelangelo&'s nose as the center of his autobiography, self-creation, and iconography is a stimulating and suggestive book.&" &-Lectura Dantis
Dewey Edition
20
Illustrated
Yes
Dewey Decimal
700/.92
LC Classification Number
NX552.Z9M533 1990

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