The Form of Meaning – The Meaning of Form – Vol II


Irving Lavin

Studies in the History of Art from Late Antiquity to Jackson Pollock

Publication: To be announced

Volume II
24 x 17 cm
650 pp. 283 illus.

Book Description

These two volumes bring together all of Irving Lavin’s studies aside from those on Gian Lorenzo Bernini. They range from studies of the art and architecture of Late Antiquity to twentieth-century painting in New York. They are divided here by date, and include seven studies on the art of Antiquity and the Middle Ages, nine on the art of the Renaissance, eight on further topics in sixteenth-century art, seven on the Baroque, and six on Modern Art. There are three studies on the history of theatre and stage design, and twelve papers on the history of art in general, including obituaries of a number of influential art

Lavin’s prize-winning study of Late Antique architecture and pioneering work on North African floor mosaics are included here. His interest in the Italian Renaissance appears in studies on the iconography of the myth of Cephalus and Procris, and the relationship between form and content in works by Donatello, Michelangelo, Pontormo, and Giovanni Bologna. The twentieth century is represented by essays on the printmaking of Picasso and the painting of Jackson Pollock.

Volume II Contents

  • III. Sixteenth Century: An Observation on ‘Medievalism’ in Early Sixteenth Century Style
  • Michelangelo’s Saint Peter’s Pietà. The Virgin’s Left Hand and Other New Photographs
  • Giambologna’s Neptune at the Crossroads
  • Ex Uno Lapide: The Renaissance Sculptor’s Tour de Force
  • Michelangelo’s Medici Madonna: Spouse and Son
  • The Angel and the City. Baccio Bandinelli’s Project for the Castel Sant’Angelo in Rome
  • IV. Baroque: The Baroque Decorations in San Silvestro in Capite, Rome
  • Review of John Pope-Hennessy, Italian High Renaissance and Baroque Sculpture
  • [with the collaboration of Marilyn Aronberg Lavin] Duquesnoy’s Nano di Créqui and Two Busts by Francesco Mochi
  • [with the collaboration of Marilyn Aronberg Lavin] Pietro da Cortona Documents from the Barberini Archive
  • Fischer von Erlach, Tiepolo, and the Unity of the Visual Arts
  • [With Marilyn Aronberg Lavin] Rembrandt’s Jewish Bride: Sister and Spouse
  • Georges de La Tour. The Tears of St. Peter and the ‘Occult’ Light of Penitence
  • V. Modern: Abstraction in Modern Painting. A Comparison
  • A Fragment, in Paul Suttman. The Master-Pieces. 1981-1991, New York, 1991, 3; Picasso’s Lithograph(s): “The Bull(s)” and the History of Art in Reverse
  • The Body Artist; Storm King: The Genius of the Place
  • Théodore Aubanel’s Les Filles d’Avignon and Picasso’s Sum of Destructions
  • Going for Baroque: Observations on the Post-Modern Fold; VI. Theater: On the Unity of the Arts and the Early Baroque Opera House
  • The Campidoglio and Sixteenth-Century Stage Design
  • Review of Alois Maria Nagler, Theatre Festivals of the Medici 1539-1637; VII. Art History: When Vatican Art Goes on the Road
  • Words in Memory of Horst Woldemar Janson
  • The Art of Art History
  • Obituary. Howard Hibbard 1928-84
  • Iconography Group discussion published in The Relationship between Art and Architecture
  • Iconography as a Humanistic Discipline (Iconography at the Crossroads)
  • Panofsky’s History of Art
  • The Crisis of Art; Remarks in Celebration of the Centenary of the Kunsthistorisches Institut in Florenz
  • Intoduction to Erwin Panofsky. Three Essays on Style
  • Panofsky, Gombrich, Bredekamp : D.D.D.
  • Index

See also:
Volume I

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