Search results for ""Author David Freedberg""

Some years ago, David Freedberg opened a dusty cupboard at Windsor Castle and discovered hundreds of vividly coloured, masterfully precise drawings of all sorts of plants and animals from the Old and New Worlds. Coming upon thousands more drawings like them across Europe, Freedberg finally traced them all back to a little-known scientific organization from 17th-century Italy called the Academy of Linceans (or Lynxes). Founded by Prince Federico Cesi in 1603, the Linceans took as their task nothing less than the documentation and classification of all of nature in pictorial form. In this first book-length study of the Linceans to appear in English, Freedberg focuses especially on their unprecedented use of drawings based on microscopic observation and other new techniques of visualization. Where previous thinkers had classified objects based mainly on similarities of external appearance, the Linceans instead turned increasingly to sectioning, dissection and observation of internal structures. They applied their new research techniques to an incredible variety of subjects, from the objects in the heavens studied by their most famous (and infamous) member, Galileo Galilei - whom they supported at the most critical moments of his career - to the flora and fauna of Mexico, bees, fossils and the reproduction of plants and fungi. But by demonstrating the inadequacy of surface structures for ordering the world, the Linceans unwittingly planted the seeds for the demise of their own favourite method - visual description - as a mode of scientific classification. Profusely illustrated and engagingly written, "The Eye of the Lynx" uncovers a crucial episode n the development of visual representation and natural history. And perhaps as important, it offers readers a dazzling array of early modern drawings, from magnificently depicted birds and flowers to frogs in amber, monstrously misshapen citrus fruits and more.

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"This learned and heavy volume should be placed on the shelves of every art historical library."—E. H. Gombrich, New York Review of Books"This is an engaged and passionate work by a writer with powerful convictions about art, images, aesthetics, the art establishment, and especially the discipline of art history. It is animated by an extraordinary erudition."—Arthur C. Danto, The Art Bulletin"Freedberg's ethnographic and historical range is simply stunning. . . . The Power of Images is an extraordinary critical achievement, exhilarating in its polemic against aesthetic orthodoxy, endlessly fascinating in its details. . . . This is a powerful, disturbing book."—T. J. Jackson Lears, Wilson Quarterly"Freedberg helps us to see that one cannot do justice to the images of art unless one recognizes in them the entire range of human responses, from the lowly impulses prevailing in popular imagery to their refinement in the great visions of the ages."—Rudolf Arnheim, Times Literary Supplement

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With new surges of activity from religious, political, and military extremists, the destruction of images has become increasingly relevant on a global scale. A founder of the study of early modern and contemporary iconoclasm, David Freedberg has addressed this topic for five decades. His work has brought this subject to a central place in art history, critical to the understanding not only of art but of all images in society. This volume collects the most significant of Freedberg's texts on iconoclasm and censorship, bringing five key works back into print alongside new assessments of contemporary iconoclasm in places ranging from the Near and Middle East to the United States, as well as a fresh survey of the entire subject. The writings in this compact volume explore the dynamics and history of iconoclasm, from the furious battles over images in the Reformation to government repression in modern South Africa, the American culture wars of the early 1990s, and today's cancel culture. Freedberg combines fresh thinking with deep expertise to address the renewed significance of iconoclasm, its ideologies, and its impact. This volume also provides a supplement to Freedberg's essay on idolatry and iconoclasm from his pathbreaking book, The Power of Images. Freedberg's writings are of foundational importance to this discussion, and this volume will be a welcome resource for historians, museum professionals, international law specialists, preservationists, and students.

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