A doctoral student in history of architecture of Richard Krautheimer, Wolfgang Lotz and Richard P... more A doctoral student in history of architecture of Richard Krautheimer, Wolfgang Lotz and Richard Pommer at the Institute of Fine Arts, New York University in the 1960s, Marvin Trachtenberg published his thesis on the Campanile of Florence Cathedral, known as ‘Giotto's Tower,’ with New York University Press in 1971-72. This, his first book, won the Alice Davis Hitchcock Book Award, given by the Society of Architectural Historians for the outstanding book on an architectural subject by a North American scholar. The citation stated:
The elegantly concise introduction to this volume (1-8), subtitled “Of Tact and Moral Urgency”, i... more The elegantly concise introduction to this volume (1-8), subtitled “Of Tact and Moral Urgency”, is indicative of the editors’ proclivity to offer a prefatory piece that at once goes to the heart of two distinctive aspects of Baxandall’s meditations on ‘method’, and subtly imitates his terse prose style. Their selection of a text from Baxandall consisting of but ten words signifies their desire to adopt a critical stance that reveals their own immersion in the problematics that arise in this author, perhaps the most seductive yet unknowable art historian of his generation. They write:
patients, smoking 64% patients, hyperlipidemia 51% patients and diabetes mellitus 8% of patients.... more patients, smoking 64% patients, hyperlipidemia 51% patients and diabetes mellitus 8% of patients. Among these patients, 30% of them had ipsilateral stenosis and 9% had ipsilateral occlusion or subocclusion of extracranial carotid arteries. The possible cardiac embolic pathogenic mechanism among our patients (including atrial fibrillation, which is most common, mitral stenosis, myocardial infarct, mitral insufficiency, open foramen ovale and combined mitral valve defects) is found in 9% of TIAs. Conclusions: Although by definition TIA's cause no residual disability, they indicate an imminent high risk of a more serious cerebrovascular and cardiovascular event. Therefore, patients risk factors should be identified and appropriate action should be taken to reduce the patient's overall vascular risk.
proto–still lifes and comparable elements of larger compositions. It is useful, for example, to b... more proto–still lifes and comparable elements of larger compositions. It is useful, for example, to be directed to the putto-flung rose petals in the foreground of Lotto’sMadonna of the Rosary (Cingoli)—not only as a striking kind of un-stilled life, but also as a cue to look again at poured and scattered flower petals in very different kinds of work by the same painter, including erotic allegories. To wish for more such connections is to begin to make them oneself, as the author intends. Inviting “careful looking at pictures, both in quest of comparable details and more generally” (32), David Ekserdjian’s book sets a generous table.
Transformations of Time and Temporality in Medieval and Renaissance Art, 2014
A multifaceted picture of the dynamic concepts of time and temporality is demonstrated in medieva... more A multifaceted picture of the dynamic concepts of time and temporality is demonstrated in medieval and Renaissance art, as adopted in speculative, ecclesiastical, socio-political, propagandist, moralistic, and poetic contexts. Questions regarding perception of time are investigated through innovative aspects of Renaissance iconography.
... Cataloging-in-Publication Data Emison, Patricia A. Creating the divine artist : from Dante ... more ... Cataloging-in-Publication Data Emison, Patricia A. Creating the divine artist : from Dante to Michelangelo / by Patricia A. Emison. ... Jeffrey Hall, Marcia Hall, Irving Lavin, Alexander Nagel, Peter Parshall, Mary Rasmussen, Ingrid Rowland, Scott Schnepf, Christina Warner, and ...
generally faced left. (A conspicuous exception to this convention is Piero della Francesca's ... more generally faced left. (A conspicuous exception to this convention is Piero della Francesca's famous diptych of Federico da Montefeltro and Battista Sforza, where the male and female positions are switched to hide a disfiguring injury on the count's face.) The introductory essays are lively and thoroughly accessible to the general reader, while individual entries (and especially their bibliography) will be useful to specialists. Handsomely produced and (in a paperback version) affordably priced, this is an elegant and intriguing book. *̂ CAROLYN SPRINGER Stanford University
Some of the most explicit statements in early Christian and medieval sources about the functions ... more Some of the most explicit statements in early Christian and medieval sources about the functions of visual images in churches are notable for their silence regarding the liturgical significance of wall decoration. There is talk of imagery of the Old and New Testaments instructing the laity so that they should know ‘the high deeds of the servants of God and may be prompted to imitate them’, or at least to remember them. Images might be said to ‘decorate with beauty the house of the Lord’, but it is difficult to find it stated anywhere that the monumental cycles that still arrest our gazes in many of the churches were executed to ‘illustrate’, or to ‘represent’, or to ‘dramatize’ the liturgy that was celebrated in those sacred edifices
A doctoral student in history of architecture of Richard Krautheimer, Wolfgang Lotz and Richard P... more A doctoral student in history of architecture of Richard Krautheimer, Wolfgang Lotz and Richard Pommer at the Institute of Fine Arts, New York University in the 1960s, Marvin Trachtenberg published his thesis on the Campanile of Florence Cathedral, known as ‘Giotto's Tower,’ with New York University Press in 1971-72. This, his first book, won the Alice Davis Hitchcock Book Award, given by the Society of Architectural Historians for the outstanding book on an architectural subject by a North American scholar. The citation stated:
The elegantly concise introduction to this volume (1-8), subtitled “Of Tact and Moral Urgency”, i... more The elegantly concise introduction to this volume (1-8), subtitled “Of Tact and Moral Urgency”, is indicative of the editors’ proclivity to offer a prefatory piece that at once goes to the heart of two distinctive aspects of Baxandall’s meditations on ‘method’, and subtly imitates his terse prose style. Their selection of a text from Baxandall consisting of but ten words signifies their desire to adopt a critical stance that reveals their own immersion in the problematics that arise in this author, perhaps the most seductive yet unknowable art historian of his generation. They write:
patients, smoking 64% patients, hyperlipidemia 51% patients and diabetes mellitus 8% of patients.... more patients, smoking 64% patients, hyperlipidemia 51% patients and diabetes mellitus 8% of patients. Among these patients, 30% of them had ipsilateral stenosis and 9% had ipsilateral occlusion or subocclusion of extracranial carotid arteries. The possible cardiac embolic pathogenic mechanism among our patients (including atrial fibrillation, which is most common, mitral stenosis, myocardial infarct, mitral insufficiency, open foramen ovale and combined mitral valve defects) is found in 9% of TIAs. Conclusions: Although by definition TIA's cause no residual disability, they indicate an imminent high risk of a more serious cerebrovascular and cardiovascular event. Therefore, patients risk factors should be identified and appropriate action should be taken to reduce the patient's overall vascular risk.
proto–still lifes and comparable elements of larger compositions. It is useful, for example, to b... more proto–still lifes and comparable elements of larger compositions. It is useful, for example, to be directed to the putto-flung rose petals in the foreground of Lotto’sMadonna of the Rosary (Cingoli)—not only as a striking kind of un-stilled life, but also as a cue to look again at poured and scattered flower petals in very different kinds of work by the same painter, including erotic allegories. To wish for more such connections is to begin to make them oneself, as the author intends. Inviting “careful looking at pictures, both in quest of comparable details and more generally” (32), David Ekserdjian’s book sets a generous table.
Transformations of Time and Temporality in Medieval and Renaissance Art, 2014
A multifaceted picture of the dynamic concepts of time and temporality is demonstrated in medieva... more A multifaceted picture of the dynamic concepts of time and temporality is demonstrated in medieval and Renaissance art, as adopted in speculative, ecclesiastical, socio-political, propagandist, moralistic, and poetic contexts. Questions regarding perception of time are investigated through innovative aspects of Renaissance iconography.
... Cataloging-in-Publication Data Emison, Patricia A. Creating the divine artist : from Dante ... more ... Cataloging-in-Publication Data Emison, Patricia A. Creating the divine artist : from Dante to Michelangelo / by Patricia A. Emison. ... Jeffrey Hall, Marcia Hall, Irving Lavin, Alexander Nagel, Peter Parshall, Mary Rasmussen, Ingrid Rowland, Scott Schnepf, Christina Warner, and ...
generally faced left. (A conspicuous exception to this convention is Piero della Francesca's ... more generally faced left. (A conspicuous exception to this convention is Piero della Francesca's famous diptych of Federico da Montefeltro and Battista Sforza, where the male and female positions are switched to hide a disfiguring injury on the count's face.) The introductory essays are lively and thoroughly accessible to the general reader, while individual entries (and especially their bibliography) will be useful to specialists. Handsomely produced and (in a paperback version) affordably priced, this is an elegant and intriguing book. *̂ CAROLYN SPRINGER Stanford University
Some of the most explicit statements in early Christian and medieval sources about the functions ... more Some of the most explicit statements in early Christian and medieval sources about the functions of visual images in churches are notable for their silence regarding the liturgical significance of wall decoration. There is talk of imagery of the Old and New Testaments instructing the laity so that they should know ‘the high deeds of the servants of God and may be prompted to imitate them’, or at least to remember them. Images might be said to ‘decorate with beauty the house of the Lord’, but it is difficult to find it stated anywhere that the monumental cycles that still arrest our gazes in many of the churches were executed to ‘illustrate’, or to ‘represent’, or to ‘dramatize’ the liturgy that was celebrated in those sacred edifices
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