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Focusing on paintings by Giorgione, Titian, Parmigianino, and Raphael, Jodi Cranston explores the significance of the formal inventions that address the presence of the beholder, particularly the introduction of a range of poses and self-reflexive gestures, and how such a visual dialogue with the beholder encourages the viewer to perceive the portrait as open and responsive, rather than as a fixed commemoration of the past. Cranston also analyzes the term 'portrait' as it is used in contemporary literature, which describes a resemblance of minds and affections between the sitter and the viewer derived from encounters, such as speaker and listener, lover and beloved, and self and other. Bringing together a wide range of literary and visual sources and applying methods derived from literary theory and structural analysis, this study demonstrates how sixteenth-century portraits extend contemporary efforts to perceive and receive painting as a kind of poetry.Read more
- Offers new interpretations of well-known Renaissance paintings
- Offers a methodology for considering the genre of portraiture as a whole, i.e. not time-specific
- Offers analysis of hitherto unstudied poetry
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- Date Published: December 2000
- format: Hardback
- isbn: 9780521653244
- length: 272 pages
- dimensions: 260 x 184 x 20 mm
- weight: 0.84kg
- contains: 69 b/w illus.
- availability: Unavailable - out of print
Table of Contents
1. Dialogue with the beholder
2. 'Familiar colloquium': the recollection and presence of portraits
3. Designing the self
Titian's 'Nonautographic' self-portraits
4. 'L'effetto che fa lo specchio'
5. The speaking tomb.
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