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History --- Classical --- Ancient Greek [culture or style] --- Art --- Roman [ancient Italian style] --- Antiquity --- Art [Classical ] --- Art classique --- Classical art --- Klassieke kunst --- Kunst [Klassieke ] --- Art, Classical --- Art antique --- Art romain --- --Art, Classical --- Art, Classical. --- Roman [ancient Italian culture or period] --- Art grec --- Art antique. --- Art grec. --- Art romain.

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History --- Antique, the --- Art --- Junius, Franciscus [jr.] --- Painting --- Art, Classical. --- Painting, Ancient. --- Art - Early works to 1800. --- Painting - Early works to 1800. --- antieke schilderkunst --- kunstliteratuur

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"The work of German cultural theorist and art historian Aby Warburg (1866-1929) has had a lasting effect on how we think about images. This book is the first in English to focus on his last project, the encyclopedic Atlas of Images: Mnemosyne. Begun in earnest in 1927, and left unfinished at the time of Warburg's death in 1929, the Atlas consisted of sixty-three large wooden panels covered with black cloth. On these panels Warburg carefully, intuitively arranged some thousand black-and-white photographs of classical and Renaissance art objects, as well as of astrological and astronomical images ranging from ancient Babylon to Weimar Germany. Here and there, he also included maps, manuscript pages, and contemporary images taken from newspapers. Trying through these constellations of images to make visible the many polarities that fueled antiquity's afterlife, Warburg envisioned the Atlas as a vital form of metaphoric thought. While the nondiscursive, frequently digressive character of the Atlas complicates any linear narrative of its themes and contents, Christopher D. Johnson traces several thematic sequences in the panels. By drawing on Warburg's published and unpublished writings and by attending to Warburg's cardinal idea that "pathos formulas" structure the West's cultural memory, Johnson maps numerous tensions between word and image in the Atlas. In addition to examining the work itself, he considers the literary, philosophical, and intellectual-historical implications of the Atlas. As Johnson demonstrates, the Atlas is not simply the culmination of Warburg's lifelong study of Renaissance culture but the ultimate expression of his now literal, now metaphoric search for syncretic solutions to the urgent problems posed by the history of art and culture."--Publisher's Web site.

philosophy of art --- Philosophy and psychology of culture --- Warburg, Aby --- Art criticism --- Art, Classical --- Art, Renaissance --- Metaphor in art. --- Memory in art. --- History --- Influence. --- Warburg, Aby, --- Memory in art --- Metaphor in art --- Renaissance art --- Classical art --- Classical antiquities --- Influence --- Nachleben

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History --- Antique, the --- Art --- collecting --- anno 1700-1799 --- kunstverzamelen --- Antiquity --- 7.074 "17" --- Art, Classical --- -Classical antiquities --- -Neoclassicism (Art) --- -Art, Modern --- Classicism in art --- Revival movements (Art) --- Antiquities, Classical --- Antiquities, Grecian --- Antiquities, Roman --- Archaeology, Classical --- Classical archaeology --- Roman antiquities --- Antiquities --- Archaeological museums and collections --- Art, Ancient --- Classical philology --- Classical art --- Classical antiquities --- Kunstverzameling. Activiteiten van verzamelaars--18e eeuw. Periode 1700-1799 --- Collectors and collecting --- -Collectors and collecting --- -7.074 "17" --- -Kunstverzameling. Activiteiten van verzamelaars--18e eeuw. Periode 1700-1799 --- 7.074 "17" Kunstverzameling. Activiteiten van verzamelaars--18e eeuw. Periode 1700-1799 --- -History --- -Antiquities, Classical --- -Art, Classical --- Neoclassicism (Art) --- Art, Modern --- Kunst --- Geschiedenis --- klassieke oudheid --- collectioneren --- Oudheid

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In Tracing the Visual Language of Raphael’s Circle to 1527 , Alexis Culotta examines how the Renaissance master’s style – one infused with borrowed visual quotations from other artists both past and present – proved influential in his relationship with associate Baldassare Peruzzi and in the development of the artists within his thriving workshop. Shedding new light on the important, yet often-overshadowed, figures within this network, this book calls upon key case studies to convincingly illustrate how this visual language and its recombination evolved during Raphael’s Roman career and subsequently served as a springboard for artistic innovation for these close associates as they collaborated in the years following Raphael’s death.

Art, Classical --- Classicisme (art) --- Mural painting and decoration, Italian --- Peinture et décoration murales italiennes --- Mural painting and decoration, Renaissance --- Peinture et décoration murales de la Renaissance --- Influence. --- Raphael, --- Raphaël --- Criticism and interpretation. --- Critique et interprétation. --- painting [image-making] --- influence --- Italian Renaissance-Baroque styles --- Raphael --- Peinture et décoration murales --- Raphael, 1483-1520 --- Classical art --- Classical antiquities --- Sanzio, Raffaele --- Raffaello Sanzio --- Santi, Raffaello --- Sanzio, Raffaello --- Raffael --- Raffaello --- Urbino, Raffaello da --- Sanctius, Raphae, --- Urbinas, Raphael Sanctius --- Rafaėlʹ --- Raffaele Sanzio --- Sanzi, Raffaello --- Rafaël