Laurie Schneider Adams – författare

A pioneering overview of art and psychoanalysis that shows how each field can enrich and enlarge the other.

This book focuses on key monuments of the Baroque style, which varies in different European contexts. It is intended to affirm the existence of individual genius, identifiable styles of art, and historical periods that produced them.

Organized chronologically from early Renaissance precursors to the Mannerist movement, from Giotto to Titian, Key Monuments of the Italian Renaissance describes and analyzes in depth from various points of view major works and major artists, from the fourteenth to the sixteenth centuries. Artists included are Cimabue, Duccio, Giotto, Lorenzetti, Ghiberti, Brunelleschi, Donatello, Massaccio, Gentile da Fabriano, Uccello, Rossellino, Castagno, Piero della Francesca, Alberti, Botticelli, G. Bellini, Verrocchio, Mantegna, G. Sangallo, Leonardo, Michelangelo, Bramante, Raphael, Giorgione, and Titian. The Florentine Renaissance, the High Renaissance in Florence and Rome, and High Renaissance Painting in Venice are covered. Includes a glossary, a bibliography of works cited, and suggested readings.

A pioneering overview of art and psychoanalysis that shows how each field can enrich and enlarge the other.

Since the nineteenth century, when art history became an established academic discipline, works of art have been 'read' in a variety of ways. These different ways of describing and interpreting art are the methodologies of artistic analysis, the divining rods of meaning. Regardless of a work's perceived difficulty, an art object is, in theory, complex. Every work of art is an expression of its culture (time and place) and its maker (the artist) and is dependent on its media (what it's made of). The methodologies discussed here (formal analysis, iconology and iconography, Marxism, feminism, biography and autobiography, psychoanalysis, structuralism, race and gender) reflect the multiplicity of meanings in an artistic image. The second edition includes nineteen new images, new sections on race, gender, orientalism, and colonialism, and a new epilogue that analyzes a single painting to illustrate the different methodological viewpoints.

This book focuses on key monuments of the Baroque style, which varies in different European contexts. It is intended to affirm the existence of individual genius, identifiable styles of art, and historical periods that produced them.

Organized chronologically from early Renaissance precursors to the Mannerist movement, from Giotto to Titian, Key Monuments of the Italian Renaissance describes and analyzes in depth from various points of view major works and major artists, from the fourteenth to the sixteenth centuries. Artists included are Cimabue, Duccio, Giotto, Lorenzetti, Gh

"The chronology of the Italian Renaissance, its character, and context have long been a topic of discussion among scholars. Some date its beginnings to the fourteenthcentury work of Giotto, others to the generation of Masaccio, Brunelleschi, and Donatello that fl ourished from around 1400. The close of the Renaissance has also proved elusive. Mannerism, for example, is variously considered to be an independent (but subsidiary) late aspect of Renaissance style or a distinct style in its own right."

Since the nineteenth century, when art history became an established academic discipline, works of art have been 'read' in a variety of ways. These different ways of describing and interpreting art are the methodologies of artistic analysis, the divining rods of meaning. Regardless of a work's perceived difficulty, an art object is, in theory, complex. Every work of art is an expression of its culture (time and place) and its maker (the artist) and is dependent on its media (what it's made of). The methodologies discussed here (formal analysis, iconology and iconography, Marxism, feminism, biography and autobiography, psychoanalysis, structuralism, race and gender) reflect the multiplicity of meanings in an artistic image. The second edition includes nineteen new images, new sections on race, gender, orientalism, and colonialism, and a new epilogue that analyzes a single painting to illustrate the different methodological viewpoints.

"The chronology of the Italian Renaissance, its character, and context have long been a topic of discussion among scholars. Some date its beginnings to the fourteenthcentury work of Giotto, others to the generation of Masaccio, Brunelleschi, and Donatello that fl ourished from around 1400. The close of the Renaissance has also proved elusive. Mannerism, for example, is variously considered to be an independent (but subsidiary) late aspect of Renaissance style or a distinct style in its own right."

Munch's The Scream. Van Gogh's Starry Night.  Rodin's The Thinker. Monet’s water lilies. Constable's landscapes. The nineteenth-century gave us a wealth of artistic riches so memorable in their genius that we can picture many of them at an instant.  However, at the time their avant-garde nature was the cause of much controversy.Professor Laurie Schneider Adams brings vividly to life the paintings, sculpture, photography and architecture of the period vividly with her infectious enthusiasm for art and detailed explorations of individual works. Offering fascinating biographical details and the relevant social, political and cultural context, Adams provides the reader with an understanding of both how revolutionary the works were at the time and of their enduring appeal.

Art has existed for as long as humankind, but defining it is famously difficult. In this whirlwind tour spanning from prehistory up to the present day and beyond, Laurie Schneider Adams explores how art, and our views on it, have evolved. Delving into fascinating issues such as why some artworks can be so controversial, why a forgery can never be as "good" as the original, and what the future of art may hold, this beautifully crafted introduction provides a definitive overview of Western artistic tradition. Also providing a helpful guide to understanding art terminology and to reading artworks for meaning, Art: A Beginner's Guide is an essential tool for every budding art critic.