Feminist historians of science and philosophy have shown that during the Italian Renaissance, the profound shift in the concept of nature - from an organic worldview to the scientific - was assisted by the gender metaphor that defined nature as female. In this provocative and groundbreaking book, Mary D. Garrard extends this analysis to the history of art and proposes that the larger shift was both anticipated and mediated by the visual arts. In case studies of such major figures as Brunelleschi, Masaccio, Botticelli, Leonardo da Vinci, Michelangelo, Pontormo, Giorgione, and Titian, Garrard examines the changing relationship of art and nature in the Renaissance, and shows how they were cast by artists and theorists as gendered competitors in a steadily escalating rhetoric.
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整體用gender theory，重新解釋nature和art的關係。大的方向沒啥問題，具體到每一幅畫的解釋有時候略為牽強。比如對封面這個挂著蛋的畫的詮釋就比較有問題。不過還是讀起來有一種震撼感
评分整體用gender theory，重新解釋nature和art的關係。大的方向沒啥問題，具體到每一幅畫的解釋有時候略為牽強。比如對封面這個挂著蛋的畫的詮釋就比較有問題。不過還是讀起來有一種震撼感
评分整體用gender theory，重新解釋nature和art的關係。大的方向沒啥問題，具體到每一幅畫的解釋有時候略為牽強。比如對封面這個挂著蛋的畫的詮釋就比較有問題。不過還是讀起來有一種震撼感
评分整體用gender theory，重新解釋nature和art的關係。大的方向沒啥問題，具體到每一幅畫的解釋有時候略為牽強。比如對封面這個挂著蛋的畫的詮釋就比較有問題。不過還是讀起來有一種震撼感
评分整體用gender theory，重新解釋nature和art的關係。大的方向沒啥問題，具體到每一幅畫的解釋有時候略為牽強。比如對封面這個挂著蛋的畫的詮釋就比較有問題。不過還是讀起來有一種震撼感
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