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In this visually stunning and much anticipated book, acclaimed art historian Joseph Leo Koerner casts the art of Hieronymus Bosch and Pieter Bruegel in a completely new light, revealing how the painting of everyday life was born from what seems its opposite: depictions of a foe hellbent on destroying us. Probing deeply the visual cunning of these Renaissance masters, Koerner uncovers art history's unexplored underside: the visual image as enemy. An absorbing study of the dark paradoxes of human creativity, Bosch and Bruegel is also a timely account of how hatred can be converted into tolerance through art. Koerner guides readers through all the major paintings, drawings, and prints of these two towering artists, including Bosch's elusive Garden of Earthly Delights, which forms the mesmerizing center of the historical tour de force. Elegantly written and abundantly illustrated the book is based on Koerner's A.W. Mellon Lectures in the Fine Arts, a series given annually at the National Gallery of Art, Washington. ; Inside jacket flap.

Peinture de genre hollandaise --- Genre painting, Dutch --- Bruegel, Pieter, --- Bosch, Hieronymus, --- Bruegel, Pieter --- Bosch, Hieronymus --- Bruegel, Pieter, --- Bosch, Hieronymus, --- Bruegel, Pieter, --- Bosch, Hieronymus, --- Bruegel, Pieter, --- Bosch, Hieronymus, --- Criticism and interpretation. --- Criticism and interpretation. --- Critique et interpretation. --- Critique et interpretation. --- Criticism and interpretation. --- Criticism and interpretation. --- Achievement (heraldry). --- Allegory. --- Allusion. --- Altarpiece. --- Ambiguity. --- Anathema. --- Anime. --- Art history. --- Beauty. --- Beret. --- Bruegel (institution). --- Caricature. --- Chapter 2. --- Chiaroscuro. --- Christian martyrs. --- Class action. --- Class conflict. --- Conflagration. --- Crime against nature. --- Cristofano Allori. --- Description. --- Early Netherlandish painting. --- Emblem. --- Embroidery. --- Engraving. --- Everyday life. --- Futures studies. --- Genre painting. --- Georgius Agricola. --- Gluttony. --- Hatred. --- Hieronymus Bosch. --- High Art. --- Holy Roman Empire. --- Humility. --- Hyle. --- James Strachey. --- Jan van Eyck. --- Jewish hat. --- Judeo-Christian. --- Karel van Mander. --- Library. --- Literature. --- Mass of Saint Gregory. --- Michael Wolgemut. --- Museo del Prado. --- Museo di Capodimonte. --- Mussel. --- Natural and legal rights. --- Nobility. --- Picture plane. --- Pieter Bruegel the Elder. --- Pity. --- Pogrom. --- Poiesis. --- Proverb. --- Royal Library of Belgium. --- Second Letter (Plato). --- Self-control. --- Self-portrait. --- Self-preservation. --- Spontaneous generation. --- Symptom. --- Tavern. --- The Hay Wain. --- The Land of Cockaigne (Bruegel). --- The Seven Deadly Sins and the Four Last Things. --- Wallraf-Richartz Museum. --- Woodcut. --- Writing.

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John Shearman makes the plea for a more engaged reading of art works of the Italian Renaissance, one that will recognize the presuppositions of Renaissance artists about their viewers. His book is the first attempt to construct a history of those Renaissance paintings and sculptures that are by design completed outside themselves in or by the spectator, that embrace the spectator into their narrative plot or aesthetic functioning, and that reposition the spectator imaginatively or in time and space. He takes the lead from texts and artists of the period, for these artists reveal themselves as spectators. Among modern historiographical techniques, Reception Theory is closest to the author's method, but Shearman's concern is mostly with anterior relationships with the viewer--that is, relationships conceived and constructed as part of the work's design, making, and positioning. Shearman proposes unconventional ways in which works of art may be distinguished one from another, and in which spectators may be distinguished, too, and enlarges the accepted field of artistic invention. Furthermore, His argument reflects on the Renaissance itself. What is created in this period tends to be regarded as conventional, or inherent in the nature of painting and sculpture: he maintains that this is a careless, disengaged view that has overlooked the process of discovery by immensely inventive and visually intelllectual artists. John Shearman is William Door Boardman Professor of Fine Arts at Harvard University. Among his works are Mannerism (Hardmondsworth/Penguin), Raphael's Cartoons in the Collection of Her Majesty the Queen and the Tapestries for the Sistine Chapel (Phaidon), The Early Italian Paintings in the Collection of Her Majesty the Queen (Cambridge). and Funzione e Illusione (il Saggiatore).The A.W. Mellon Lectures in the Fine Arts, 1988Bollingen Series XXXV: 37Originally Publsihed in 1992The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Art, Italian. --- Art, Renaissance --- Audiences --- Psychology. --- Art, Italian --- -Audiences --- -Audiences, Communication --- Communication audiences --- Communication --- Spectators --- Italian art --- Bamboccianti (Group of artists) --- Corrente (Group of artists) --- Cracking Art (Group of artists) --- Fronte nuovo delle arti (Group of artists) --- Geometria e ricerca (Group of artists) --- Girasole (Group of artists) --- Gruppo 1 (Group of artists) --- Gruppo Aniconismo dialettico (Group of artists) --- Gruppo di Como (Group of artists) --- Gruppo di Scicli (Group of artists) --- Gruppo Enne (Group of artists) --- Gruppo Forma uno (Group of artists) --- Italiens de Paris (Group of artists) --- Mutus Liber (Group of artists) --- Novecento italiano (Group of artists) --- Nuovi-nuovi (Group of artists) --- Origine (Group of artists) --- Sei pittori di Torino (Group of artists) --- Transvisionismo (Group of artists) --- Renaissance art --- Psychology --- Social aspects --- -Psychology --- History --- Renaissance --- Painting --- Art --- anno 1400-1499 --- anno 1500-1599 --- Italy --- Art italien --- Art de la Renaissance --- Audiences, Communication --- Art, Renaissance - Italy. --- Audiences - Psychology. --- Italiaanse school --- Adolf von Hildebrand. --- Albrecht Dürer. --- Altarpiece. --- Andrea Fulvio. --- Andrea Mantegna. --- Andrea Solari. --- Andrea del Sarto. --- Antonello da Messina. --- Antonio Rossellino. --- Aretino. --- Bacchus and Ariadne. --- Baptistery. --- Baroque architecture. --- Basilica. --- Bembo. --- Camera degli Sposi. --- Caravaggio. --- Catullus. --- Cecilia Gallerani. --- Chiaroscuro. --- Christ among the Doctors (Dürer). --- Conceit. --- Cosimo de' Medici. --- Counter-Reformation. --- Cristofano Allori. --- Della Rovere. --- Diego Velázquez. --- Donatello. --- Duke of Florence. --- Edward Burne-Jones. --- Epigram. --- Famulus. --- Feast of the Gods (art). --- Filarete. --- Filippino Lippi. --- Galleria Borghese. --- Ginevra de' Benci. --- Giorgio Vasari. --- Giorgione. --- Giovanni Bellini. --- Giovanni Pisano. --- Giulio Romano. --- Grand manner. --- Hercules and Cacus. --- Heroides. --- High Renaissance. --- High place. --- Hyperbole. --- Intentionality. --- Jan van Eyck. --- Las Meninas. --- Lateran Baptistery. --- Lodovico Dolce. --- Madonna of the Harpies. --- Mario Equicola. --- Mario Praz. --- Marriage of the Virgin (Perugino). --- Masaccio. --- Master of the Virgo inter Virgines. --- Michelangelo. --- Mona Lisa Smile. --- Mystery play. --- National Gallery of Art. --- Orlando Furioso. --- Paragone. --- Parmigianino. --- Persius. --- Pesaro Madonna. --- Petrarch. --- Phrenology. --- Pietro da Cortona. --- Poetry. --- Poliziano. --- Pontormo. --- Pope Julius II. --- Pseudo-Bonaventura. --- Putto. --- Reginald Pole. --- Religion. --- Renaissance art. --- Richard Wollheim. --- Rokeby Venus. --- Romanticism. --- Ruggiero (character). --- Sack of Rome (1527). --- Saint Roch. --- Sandro Botticelli. --- Simone Martini. --- Sistine Chapel. --- Sleeping Venus (Giorgione). --- The Feast of the Gods. --- The Fire in the Borgo. --- The Philosopher. --- The School of Athens. --- The Spirit of the Laws. --- The Vision of the Cross. --- The Worship of Venus. --- Tintoretto. --- Titian. --- Work of art.