Synopses & Reviews
These essays by one of America's foremost historians of art and architecture range over theory and criticism, the search for connections between art and science in the Renaissance, and specific works of Renaissance' architecture. They characterize the broad scope of James Ackerman's contribution as well as its depth in 16th century studies.
The largest group of essays, dealing with the character and history of Renaissance architecture, are models of art historical scholarship in their direct approach to identifying the essentials of a building, the problems faced by the architect, and the social and intellectual context in which they should be viewed. Another significant group of essays explores encounters between the traditions of artistic practice and early optics and color theory, redefining the transactions between the seer and the seen that are at the core of pictorial representation in the Renaissance. The three essays that begin this collection, writings on art theory, criticism, and methods of art history, bring to light the intellectual and moral concerns - the search for ways to judge art without absolutes - that underlie all of Ackerman's art historical work.
The Essays: Style Transactions in Architectural Design. Interpretation, Response: Toward a Theory of Art Criticism. Alberti's Light. Leonardo's Eye. On Early Renaissance Color Theory and Practice. Early Renaissance "Naturalism" and Scientific Illustration. "Ars Sine Scientia Nihil Est": Gothic Theory of Architecture at the Cathedral of Milan. The Certosa of Pavia and the Renaissance in Milan. Sources of the Renaissance Villa. The Belvedere as a Classical Villa. Architectural Practice in the Italian Renaissance. The Capitoline Hill. The Gesù in the Light of Contemporary Church Design. The Geopolitics of Venetian Architecture in the Time of Titian. The Tuscan/Rustic Order: A Study in the Metaphorical Language of Architecture.
Review
"James Ackerman's essays are nuggets of pure gold in the mainstream of American cultural history. They exemplify the very best art history has achieved in our time." Irving Latin , The Institute for Advanced Study, Princeton University The MIT Press
Synopsis
These essays by one of America's foremost historians of art and architecture range over theory and criticism, the search for connections between art and science in the Renaissance, and specific works of Renaissance' architecture. They characterize the broad scope of James Ackerman's contribution as well as its depth in 16th century studies.
Synopsis
These essays by one of America's foremost historians of art and architecture range over theory and criticism, the search for connections between art and science in the Renaissance, and specific works of Renaissance architecture.The largest group of essays, dealing with the character of Renaissance architecture, are models of art historical scholarship in their direct approach to identifying the essentials of a building and the social and intellectual context in which they should be viewed. Another group of essays explores encounters between the traditions of artistic practice and early optics and color theory. The three essays that begin this collection bring to light the intellectual and moral concerns that underlie all of Ackerman's art historical work.
About the Author
James S. Ackerman, Arthur Kingsley Porter Professor of Fine Arts Emeritus at Harvard University, is the author of books on Michelangelo's architecture, Palladio, and the villa. He is the winner of the Balzan Prize 2001 in the category of history of architecture, which includes town planning and landscape design presented by the International Balzan Foundation.