Joseph Emison

In this provocative book, Patricia Emison invites the reader to consider and reconsider how past thinkersfrom Pliny and Alberti to Freud and Friedhave conceptualized the history of Western art. What a

First published in 1998. Routledge is an imprint of Taylor & Francis, an informa company.

Leonardo is a new, colorful introductory book out the quintessential Renaissance painter, Leonardo da Vinci. Leonardo is the 45th and long awaited title in Phaidon?s popular and affordle Colour Librar

Program evaluation is a type of institutionalized reflection aimed at identifying ways to improve the performance of public organizations. This supplementary text for students in program evaluation co

Products liability refers generally to statutory and common law permitting the injured plaintiff to bring suit against manufacturers and sellers of defective products. Use Mastering the Media in a Pro

This book captures the experiences of effective federal environmental executives in order to learn the environmental as well as the management practices upon which actual public service improvement is

This book studies Southern environmental policy and politics in order to understand the concrete realities of the Southeast and extend those realities' understanding to other regions of the country. I

The Italian Renaissance witnessed a significant change in the esteem afforded to the artist, with a Michelangelo serving as a principal example of artists who were said to be geniuses or even "divine.

This book captures the experiences of effective federal environmental executives in order to learn the environmental as well as the management practices upon which actual public service improvement is

This book studies Southern environmental policy and politics in order to understand the concrete realities of the Southeast and extend those realities' understanding to other regions of the country. I

Why did Renaissance art come to matter so much, so widely, and for so long? Patricia Emison's answer draws on a recalibrated view of the long Renaissance – from 1300 to 1600 – synthesizing the considerable evolution in our understanding of the epoch since the foundational nineteenth-century studies of Jacob Burckhardt and Heinrich Wölfflin. Demonstrating that the imitation of nature and of antiquity must no longer define its limits, she exposes the self-consciously modern aspect of Renaissance style. She sets the art against the literary and political interests of time and analyzes works of both very familiar artists – Leonardo, Michelangelo, and Raphael – and lesser-known figures, such as Cima da Conegliano and Federico Barocci, as well as various printmakers. Succinct yet expansive, this treatment of the period also explores its layered significance for subsequent generations, from the Old Masters to the Post-Modernists.