Anyone who has strolled through the halls of a museum knows that portraits occupy a central place in the history of art. But did portraits, as such, exist in the medieval era? "The Likeness of the King" challenges the canonical account of the invention of modern portrait practices, offering a case against the tendency of recent scholarship to identify late medieval likenesses of historical personages as 'the first modern portraits'. Unwilling to accept the anachronistic nature of these claims, Stephen Perkinson both resists and complicates grand narratives of portraiture art that ignore historical context. Focusing on the Valois court of France, he argues that local practice prompted shifts in the late medieval understanding of how images could represent individuals and prompted artists and patrons to deploy likeness in a variety of ways. Through an examination of well-known images of the fourteenth- and early fifteenth-century kings of France, as well as largely overlooked objects such as wax votive figures and royal seals, Perkinson demonstrates that the changes evident in these images do not constitute a revolutionary break with the past, but instead were continuous with late medieval representational traditions.
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翻过，没细看。全书核心在于驳斥文艺复兴肖像是自然主义的开端，认为中世纪晚期的肖像观里已经存在了所谓的“写实”，从而论证了文艺复兴肖像的自然主义脱胎于中世纪晚期的宫廷。
评分翻过，没细看。全书核心在于驳斥文艺复兴肖像是自然主义的开端，认为中世纪晚期的肖像观里已经存在了所谓的“写实”，从而论证了文艺复兴肖像的自然主义脱胎于中世纪晚期的宫廷。
评分翻过，没细看。全书核心在于驳斥文艺复兴肖像是自然主义的开端，认为中世纪晚期的肖像观里已经存在了所谓的“写实”，从而论证了文艺复兴肖像的自然主义脱胎于中世纪晚期的宫廷。
评分翻过，没细看。全书核心在于驳斥文艺复兴肖像是自然主义的开端，认为中世纪晚期的肖像观里已经存在了所谓的“写实”，从而论证了文艺复兴肖像的自然主义脱胎于中世纪晚期的宫廷。
评分翻过，没细看。全书核心在于驳斥文艺复兴肖像是自然主义的开端，认为中世纪晚期的肖像观里已经存在了所谓的“写实”，从而论证了文艺复兴肖像的自然主义脱胎于中世纪晚期的宫廷。
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