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- catalog abstract ""The autonomous self-portrait, a central mode of expression in western art, was a Renaissance invention. This book explores for the first time the genesis and early development of this important genre as it took place in Italy in the fifteenth and sixteenth centuries. Joanna Woods-Marsden examines a series of self-portraits in Renaissance Italy and their relation to the social status of art and artists. She argues that these self-images represented the aspirations of their creators to change the status of art and thereby their own social standing."--Jacket.".
- catalog contributor b10874942.
- catalog created "c1998.".
- catalog date "1998".
- catalog date "c1998.".
- catalog dateCopyrighted "c1998.".
- catalog description ""The autonomous self-portrait, a central mode of expression in western art, was a Renaissance invention. This book explores for the first time the genesis and early development of this important genre as it took place in Italy in the fifteenth and sixteenth centuries. Joanna Woods-Marsden examines a series of self-portraits in Renaissance Italy and their relation to the social status of art and artists. She argues that these self-images represented the aspirations of their creators to change the status of art and thereby their own social standing."--Jacket.".
- catalog description "Includes bibliographical references (p. 266-278) and index.".
- catalog description "Introduction: The Social Status of the Artist in the Renaissance -- pt. I. The Intellectual, Social, and Psychic Contexts for Self-Portraiture. 1. Self-Fashioning in Life and Art. 2. The Social Context. 3. Visual Self-Representations. Representations of the Act of Painting. Representations of the Intellectual and the Manual Selves -- pt. II. The Quattrocento Court Artist's Invention of the Autonomous Self-Portrait. 4. The Florentine Artist as Witness in Religious Narrative. Dormition, Assumption, and Coronation of the Virgin. Epiphany. The Self-Portrait of the Quattrocento Bottega. 5. Sculptural Self-Portraits within Frames. 6. Alberti. 7. Filarete. 8. Mantegna. 9. Bramante -- pt. III. The Cinquecento Court Artist as Aeqves Caesarevs. 10. The Umbrian Connection. 11. Venice: An Isolated Experiment. The Papal Court. 12. Raphael and Friend. 13. Parmigianino's Mirror.".
- catalog extent "viii, 285 p. :".
- catalog identifier "0300075960 (cloth : alk. paper)".
- catalog issued "1998".
- catalog issued "c1998.".
- catalog language "eng".
- catalog publisher "New Haven : Yale University Press,".
- catalog spatial "Italy".
- catalog spatial "Italy.".
- catalog subject "704.9/42/094509031 21".
- catalog subject "Artists Italy Social conditions.".
- catalog subject "Identity (Psychology) in art.".
- catalog subject "N7619.5.I8 W66 1998".
- catalog subject "Portraits, Renaissance Italy.".
- catalog subject "Self-portraits, Italian.".
- catalog tableOfContents "Introduction: The Social Status of the Artist in the Renaissance -- pt. I. The Intellectual, Social, and Psychic Contexts for Self-Portraiture. 1. Self-Fashioning in Life and Art. 2. The Social Context. 3. Visual Self-Representations. Representations of the Act of Painting. Representations of the Intellectual and the Manual Selves -- pt. II. The Quattrocento Court Artist's Invention of the Autonomous Self-Portrait. 4. The Florentine Artist as Witness in Religious Narrative. Dormition, Assumption, and Coronation of the Virgin. Epiphany. The Self-Portrait of the Quattrocento Bottega. 5. Sculptural Self-Portraits within Frames. 6. Alberti. 7. Filarete. 8. Mantegna. 9. Bramante -- pt. III. The Cinquecento Court Artist as Aeqves Caesarevs. 10. The Umbrian Connection. 11. Venice: An Isolated Experiment. The Papal Court. 12. Raphael and Friend. 13. Parmigianino's Mirror.".
- catalog title "Renaissance self-portraiture : the visual construction of identity and the social status of the artist / Joanna Woods-Marsden.".
- catalog type "text".