Description
Book SynopsisIn a major analysis of pictorial forms from the late Middle Ages to the Enlightenment, Christopher Braider argues that the painted image provides a metaphor and model for all other modes of expression in Western culture--particularly literature, philosophy, religion, and science. Because critics have conventionally explained visual images in terms
Table of ContentsList of IllustrationsAcknowledgmentsIntroduction: Ut pictura poesis: Image and Text in Postmedieval Writing and Art31Una piu grassa Minerva: The Origins of Perspective and the Aesthetics of the Incarnation in Alberti's Della pittura202La verite en peinture: Space, Place, and Truth in Rogier van der Weyden's St. Ivo373Landscape with the Fall of Icarus: The Death of Allegory and the Discovery of the World in the Elder Pieter Bruegel714A Double-Silvered Glass: Christian Imitation and the "Curious Perspective" in Cervantes's Don Quijote1005Idols of the Mind: Baroque Illusion, Theatrical Persuasion, and the Aesthetics of Iconoclasm in Jan Steen1296The Denuded Muse: The Unmasking of Point of View in the Cartesian Cogito and Vermeer's The Art of Printing1747The Art of Mis/Reading Art: Text, Image, and Modernity in Rembrandt's Philosopher1998Et in Arcadia Ego: The End of Ut Pictura and the Invention of the Aesthetic in Nicolas Poussin221Conclusion: The Poetry of Absorption and the Ontology of the Modern in Lessing, Greuze, and Kant249Notes267Index297
