JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, a... more JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected].
So, he loves, yet he is at a loss as to what he loves. He neither knows what has happened to him ... more So, he loves, yet he is at a loss as to what he loves. He neither knows what has happened to him nor can he explain it. He is like someone who has caught an eye infection from someone else and cannot account for it. He does not realize that he is seeing himself in his lover as in a mirror. When his lover is present, he feels the same cessation of pain that his lover does, and when his lover is away he again shares his lover's longing and being longed for in the same way. He possesses an anteros, that is, the refl ection of love, but he supposes it to be friendship rather than love and calls it that. -Plato
JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, a... more JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected].
So, he loves, yet he is at a loss as to what he loves. He neither knows what has happened to him ... more So, he loves, yet he is at a loss as to what he loves. He neither knows what has happened to him nor can he explain it. He is like someone who has caught an eye infection from someone else and cannot account for it. He does not realize that he is seeing himself in his lover as in a mirror. When his lover is present, he feels the same cessation of pain that his lover does, and when his lover is away he again shares his lover's longing and being longed for in the same way. He possesses an anteros, that is, the refl ection of love, but he supposes it to be friendship rather than love and calls it that. -Plato
The fifteenth century Italian painter Andrea Mantegna is widely regarded as one of the most virtu... more The fifteenth century Italian painter Andrea Mantegna is widely regarded as one of the most virtuosic and conceptually ambitious artists of the European tradition. Yet his place in the history of art has been a constant challenge to a teological history of style that has prevailed - in the form of the monograph or exhibition - since Giorgio Vasari. Andrea Mantegna : Making Art (History) features a collection of readings that reveal Mantegna as challenging the parameters of art history in the demands it makes upon historical interpretation, and which explore the artist's potentially transformative impact on the study of early Renaissance. Essays on the artist's devotional painting's, two of his monumental mural projects (The Camera Picta and Ovetari Chapel), signing practices, self-portraiture, and the meta-artistic character of his "stony" style provide a complement as well as an alternative to the narrowly iconographic tradition, concerned primarily with textual sources. Collectively, the essays serve to enrich the narrow and restrictive conceptions of the relationship of the text with new models positionned at the confluence of ancient, Renaissance and modern poetics. With its array of approaches and methodologies, Andrea Mantegna : Making Art (History) offers striking new insights into the life and works of one of the true definiting geniuses of the early Renaissance.
Andrea Mantegna: Making Art (History) presents the art of Mantegna as challenging the parameters ... more Andrea Mantegna: Making Art (History) presents the art of Mantegna as challenging the parameters of the history of art in the demands it makes upon historical interpretation, and explores the artist’s potentially transformative impact on the study of the early Renaissance.
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Papers by Stephen J. Campbell