Abstract: The discovery of the actual manuscript was featured on the front pages of the major German newspapers and reported throughout the world. It consists of 334 pages, typewritten, with extensive handwritten amendments, notes, and edits. According to Gerda Panofsky, her husbanded had continued to expand and edit the manuscript until 1922, and was preparing it for publication when he had to leave it behind. In this study, Panofsky provides a detailed analysis of Michelangelo's artistic style, comparing Michelangelo directly with Raphael, and then later taking a larger historical view. This text offers important new information about the evolution of Panofsky's scholarship, as well as on the state of research on Michelangelo and the High Renaissance during a period of transition for the discipline, in which formal readings of artworks began to take precedence over artists' biographies.

A comprehensive re-assessment of Raphael's artistic achievement and the ways in which it transformed the idea of what art is.

DigiCat Publishing presents to you this special edition of "Art Principles with Special Reference to Painting" (Together with Notes on the Illusions Produced by the Painter) by Ernest Govett. DigiCat Publishing considers every written word to be a legacy of humankind. Every DigiCat book has been carefully reproduced for republishing in a new modern format. The books are available in print, as well as ebooks. DigiCat hopes you will treat this work with the acknowledgment and passion it deserves as a classic of world literature.

An exploration of the influence of the charismatic Milanese art theorist on his contemporaries in the field of drawing, painting, printmaking, decorative arts, and sculpture.

Representing Belief provides a detailed discussion and analysis of the forms and meanings in religious art of nineteenth-century France. This genre, usually assigned minimal importance by writers on the period, turns out to occupy a central place in the cultural history of the era, touching the core of the century's conflict between tradition and modernity, science and faith, ultramontanism and naturalism. Although it was generally assumed that this kind of art was of little importance in the evolution of modern painting, Driskel demonstrates that in reality it played a crucial role. Many of the artists discussed are firmly installed in the present canon (Delacroix, Ingres, Manet, Gauguin), while others (Flandrin, Orsel, Gleyre, Cazin) were major figures in their own time, though largely forgotten today. Writing from an interdisciplinary perspective and employing concepts derived from structuralist and poststructuralist theory, Driskel moves beyond simple formalism to restore a category of once-important works to a meaningful context, thereby offering others a model by which to discuss and interpret these paintings. Carefully charting the genealogies of hieraticism and naturalism, he demonstrates that a dramatic shift occurred in the 1860s and 1870s as naturalism gained acceptance among ultramontanes and the hieratic mode began to attract the interest of adherents to the belief system of modernism. Representing Belief is the first book to situate this art in its social and historical contexts and to approach it from this point of view.

With fresh insight into what the great works meant when they were created and why they appeal to us now, here is a vivid tour of painting, sculpture, and architecture, past and present. "Illuminating . . . a notable accomplishment".--The New York Times. Illustrated.

Excerpt from Renaissance Masters: The Art of Raphael, Michelangelo, Leonardo Da Vinci, Titian Correggio, Botticelli and Rubens It is not the purpose of this book to endeavor to assist the successors of Morelli in determining the authenticity of pictures. It accepts the results of the latest criticism, and is based on a loving study of works whose genuineness is established by the weight of authority. Its design is to give in a brief compass an insight into the essential characteristics of each of the masters treated, so that the traveller may be able to enjoy them for what they are, without looking for merits in one which can be found only in another. Even the greatest have their limitations, and these as well as their qualities must be understood to derive the fullest pleasure and profit from the contemplation of their achievements. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.