Name: The Viewer and the Printed Image in Late Medieval Europe (en Inglés)
Price: 299.07 PEN
Availability: InStock
Author: Areford, David S.
ISBN: 9781138252332

portada The Viewer and the Printed Image in Late Medieval Europe (en Inglés)

The Viewer and the Printed Image in Late Medieval Europe (en Inglés)

Formato

Libro Físico

Autor

David S. Areford

Editorial

Routledge

Idioma

Inglés

N° páginas

346

Encuadernación

Tapa Blanda

ISBN13

9781138252332

N° edición

Categorías

Grabados y estampación
Historia del arte
Manuales de pintura, dibujo y arte

The Viewer and the Printed Image in Late Medieval Europe (en Inglés)

David S. Areford (Autor) · Routledge · Tapa Blanda

Más barato Libro Nuevo Importado

Envío: 20 a 26 días háb.

S/ 664,59S/ 299,07

-55%

Más rápido Libro Nuevo Importado

Envío: 11 a 15 días háb.

S/ 725,78S/ 326,60

-55%

Costos de importación incluídos en el precio ✅

Libro Nuevo Más barato

Quedan más de 100 unidades

S/ 299,07

Llega entre el 13 Ago y el 24 Ago a CERCADO DE LIMA, Lima. Seleccionar ubicación

Agregar a lista de deseos

Reseña del libro "The Viewer and the Printed Image in Late Medieval Europe (en Inglés)"

Structured around in-depth and interconnected case studies and driven by a methodology of material, contextual, and iconographic analysis, this book argues that early European single-sheet prints, in both the north and south, are best understood as highly accessible objects shaped and framed by individual viewers. Author David Areford offers a synthetic historical narrative of early prints that stresses their unusual material nature, as well as their accessibility to a variety of viewers, both lay and monastic. This volume represents a shift in the study of the early printed image, one that mirrors the widespread movement in art history away from issues of production, style, and the artist toward issues of reception, function, and the viewer. Areford's approach is intensely grounded in the object, especially the unacknowledged material complexity of the print as a portable, malleable, and accessible image that depended on a response that was not only visual but often physical, emotional, and psychological. Recognizing that early prints were not primarily designed for aesthetic appreciation, the author analyzes how their meanings stemmed from specific functions involving private devotion, protection, indulgences, the cult of saints, pilgrimage, exorcism, the art of memory, and anti-Semitic propaganda. Although the medium's first century was clearly transitional and experimental, Areford explores how its potential to impact viewers in new ways"both positive and negative"was quickly realized.