Late in his life Titian created a series of paintings - the 'Four Sinners', the 'poesie' for his patron Philip II of Spain, and the 'Final Tragedies' - that were dark in tone and content, full of pathos and physical suffering. In this major reinterpretation of Titian's art, Thomas Puttfarken shows that the often dramatic and violent subject matter of these works was not, as is often argued, the consequence of the artist's increasing age and sense of isolation and tragedy. Rather, these paintings were influenced by discussions of Aristotle's Poetics that permeated learned discourse in Italy in the mid-sixteenth century. The Poetics led directly to a rich theory of the visual arts, and painting in particular, that enabled artists like Titian to consider themselves on equal footing with poets. Puttfarken investigates Titian's late works in this context and analyses his relations with his patrons, his intellectual and humanistic contacts and his choices of subject matter, style and technique.
具體描述
讀後感
評分
評分
評分
評分
用戶評價
讀完瞭，好書，具體的分析就留給我們這些學生吧，搭框架的活，藝術和悲劇，繪畫的詩學，繪畫和詩歌之爭，還是留給厲害的學者吧。：）
评分讀完瞭，好書，具體的分析就留給我們這些學生吧，搭框架的活，藝術和悲劇，繪畫的詩學，繪畫和詩歌之爭，還是留給厲害的學者吧。：）
评分讀完瞭，好書，具體的分析就留給我們這些學生吧，搭框架的活，藝術和悲劇，繪畫的詩學，繪畫和詩歌之爭，還是留給厲害的學者吧。：）
评分讀完瞭，好書，具體的分析就留給我們這些學生吧，搭框架的活，藝術和悲劇，繪畫的詩學，繪畫和詩歌之爭，還是留給厲害的學者吧。：）
评分看的第一本和提香有關的書籍，信息量很大；前一部分總結文藝復興時期畫傢地位的提升，和分析這種現象的原因，並且建立瞭後半部分關於提香畫作和戲劇和詩意之間聯係的historial context；第二部分則是從多個角度切入分析，包括提香本人畫風的變化；作品中齣現錶達齣來的強烈感情和悲劇內涵等等。一點點美中不足是感覺整體稍微有些鬆散，如果前後兩部分的聯係更緊密一些會更好～
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