Lakey Christopher (28 results)

Hardcover. Condition: Fine. Dust Jacket Condition: Fine. 1st. Cloth, xi, 226 pages, illustrations (some colour); 27 cm. Firm binding, clean inside copy. Dust jacket protected in a mylar cover. OVERSIZE! Additional shipping charges may be requested for international & priority orders. *** "Although perspective has long been considered one of the essential developments of Renaissance painting, this provocative new book shifts the usual narrative back centuries, showing that medieval sculptors were already employing knowledge of optical science, geometry, and theories of vision in shaping the beholder's experience of their work. Meticulous visual analysis is paired with close readings of medieval texts in examining a series of important relief sculptures from northern and central Italy dating from the twelfth through the fourteenth centuries, including the impressive sculptural programs at the cathedrals of Modena and Ferrara, and the pulpits by Giovanni and Nicola Pisano at Pisa and Pistoia. Demonstrating that medieval sculptors orchestrated the reception of their intended religious and political messages through the careful manipulation of points of view and architectural space, Christopher R. Lakey argues that medieval practice was well informed by visual theory and that the concepts that led to the codification of linear perspective by Renaissance painters had in fact been in use by sculptors for hundreds of years." - Publisher. *** CONTENTS: Embodied seeing; The iconology of sight; The geometry of vision; Optical aesthetics and the problem of looking right; Words for relief (rilievo). Size: 4to. Collectible.…

Hardcover. Condition: Very Good. Dust Jacket Condition: Very Good. First Edition. Minor shelf wear. Else a bright, clean copy. Demonstrating the influence of optical science on medieval relief sculpture, this groundbreaking book reveals that the concepts that informed the codification of perspective by Renaissance painters were already being employed by sculptors centuries earlier.…

Hardcover. Condition: Near Fine. Near Fine. A nice, clean copy. ; B&W Illustrations; 4to; 240 pages.

Paperback. Condition: Very Good. Appears unread, binding tight; near fine overall. Features: Courtship Rite (Part one of four - Kingsbury), The Eternal Juice Machine (McLaughlin), Patrol Team (Vinicoff), Top Line (Anvil), Vanishing Point (Pronzini and Malzberg). Cover by John and Val Lakey (illustrator). Book.…

Hardcover. Condition: Very Good. Dust Jacket Condition: very good. Factory sealed. 36 color and 100 black-and-white illustrations. Visual analysis paired with close readings of medieval texts. Includes sculptural programs at the cathedrals of Modena and Ferrara, the pulpits by Giovanni and Nicola Pisano at Pisa and Pistoia. Demonstrates that medieval sculptors orchestrated the reception of their intended religious and political messages through the careful manipulation of points of view and architectural space, Argues that medieval practice was well informed by visual theory and that the concepts that led to the codification of linear perspective by Renaissance painters had in fact been in use by sculptors for hundreds of years. Measures 8.25x10.25 inches. 240p.…

Hardcover. Condition: New. Dust Jacket Condition: Very Good. New hardcover with unclipped dust jacket, in very good condition. Jacket edges are slightly creased and nicked. No other notable faults. LW. New.

Condition: New. 2018. Hardcover. . . . . .

Condition: New.

Condition: As New. Unread book in perfect condition.

Condition: new.

Hardback. Condition: New. Although perspective has long been considered one of the essential developments of Renaissance painting, this provocative new book shifts the usual narrative back centuries, showing that medieval sculptors were already employing knowledge of optical science, geometry, and theories of vision in shaping the beholder's experience of their work. Meticulous visual analysis is paired with close readings of medieval texts in examining a series of important relief sculptures from northern and central Italy dating from the twelfth through the fourteenth centuries, including the impressive sculptural programs at the cathedrals of Modena and Ferrara, and the pulpits by Giovanni and Nicola Pisano at Pisa and Pistoia. Demonstrating that medieval sculptors orchestrated the reception of their intended religious and political messages through the careful manipulation of points of view and architectural space, Christopher R. Lakey argues that medieval practice was well informed by visual theory and that the concepts that led to the codification of linear perspective by Renaissance painters had in fact been in use by sculptors for hundreds of years.…

Condition: New.

HRD. Condition: New. New Book. Shipped from UK. Established seller since 2000.

HRD. Condition: New. New Book. Shipped from UK. Established seller since 2000.

Hardcover. Condition: New. Brand new book, sourced directly from publisher. Dispatch time is 3-4 days from our warehouse. Book will be sent in robust, secure packaging to ensure it reaches you securely.

Condition: New. 2018. Hardcover. . . . . . Books ship from the US and Ireland.

Condition: New.

Condition: As New. Unread book in perfect condition.

Hardcover. Condition: new. Hardcover. Although perspective has long been considered one of the essential developments of Renaissance painting, this provocative new book shifts the usual narrative back centuries, showing that medieval sculptors were already employing knowledge of optical science, geometry, and theories of vision in shaping the beholders experience of their work. Meticulous visual analysis is paired with close readings of medieval texts in examining a series of important relief sculptures from northern and central Italy dating from the twelfth through the fourteenth centuries, including the impressive sculptural programs at the cathedrals of Modena and Ferrara, and the pulpits by Giovanni and Nicola Pisano at Pisa and Pistoia. Demonstrating that medieval sculptors orchestrated the reception of their intended religious and political messages through the careful manipulation of points of view and architectural space, Christopher R. Lakey argues that medieval practice was well informed by visual theory and that the concepts that led to the codification of linear perspective by Renaissance painters had in fact been in use by sculptors for hundreds of years. Revision and expansion of the author's thesis (doctoral--University of California, Berkeley, 2009) under the title: Relief in perspective: medieval Italian sculpture and the rise of optical aesthetics. Shipping may be from multiple locations in the US or from the UK, depending on stock availability. …

Condition: New. In English.

Hardcover. Condition: Brand New. 240 pages. 10.00x8.00x1.00 inches. In Stock.

Condition: New.

Hardback. Condition: New. New copy - Usually dispatched within 4 working days.

Hardcover. Condition: new. Hardcover. Although perspective has long been considered one of the essential developments of Renaissance painting, this provocative new book shifts the usual narrative back centuries, showing that medieval sculptors were already employing knowledge of optical science, geometry, and theories of vision in shaping the beholders experience of their work. Meticulous visual analysis is paired with close readings of medieval texts in examining a series of important relief sculptures from northern and central Italy dating from the twelfth through the fourteenth centuries, including the impressive sculptural programs at the cathedrals of Modena and Ferrara, and the pulpits by Giovanni and Nicola Pisano at Pisa and Pistoia. Demonstrating that medieval sculptors orchestrated the reception of their intended religious and political messages through the careful manipulation of points of view and architectural space, Christopher R. Lakey argues that medieval practice was well informed by visual theory and that the concepts that led to the codification of linear perspective by Renaissance painters had in fact been in use by sculptors for hundreds of years. Revision and expansion of the author's thesis (doctoral--University of California, Berkeley, 2009) under the title: Relief in perspective: medieval Italian sculpture and the rise of optical aesthetics. Shipping may be from our UK warehouse or from our Australian or US warehouses, depending on stock availability. …

Gebunden. Condition: New. KlappentextrnrnRevision and expansion of the author s thesis (doctoral--University of California, Berkeley, 2009) under the title: Relief in perspective: medieval Italian sculpture and the rise of optical aesthetics.

Hardback. Condition: New. Although perspective has long been considered one of the essential developments of Renaissance painting, this provocative new book shifts the usual narrative back centuries, showing that medieval sculptors were already employing knowledge of optical science, geometry, and theories of vision in shaping the beholder's experience of their work. Meticulous visual analysis is paired with close readings of medieval texts in examining a series of important relief sculptures from northern and central Italy dating from the twelfth through the fourteenth centuries, including the impressive sculptural programs at the cathedrals of Modena and Ferrara, and the pulpits by Giovanni and Nicola Pisano at Pisa and Pistoia. Demonstrating that medieval sculptors orchestrated the reception of their intended religious and political messages through the careful manipulation of points of view and architectural space, Christopher R. Lakey argues that medieval practice was well informed by visual theory and that the concepts that led to the codification of linear perspective by Renaissance painters had in fact been in use by sculptors for hundreds of years.…

Buch. Condition: Neu. Neuware - Revision and expansion of the author's thesis (doctoral--University of California, Berkeley, 2009) under the title: Relief in perspective: medieval Italian sculpture and the rise of optical aesthetics.

Hardcover. Condition: new. Hardcover. Although perspective has long been considered one of the essential developments of Renaissance painting, this provocative new book shifts the usual narrative back centuries, showing that medieval sculptors were already employing knowledge of optical science, geometry, and theories of vision in shaping the beholders experience of their work. Meticulous visual analysis is paired with close readings of medieval texts in examining a series of important relief sculptures from northern and central Italy dating from the twelfth through the fourteenth centuries, including the impressive sculptural programs at the cathedrals of Modena and Ferrara, and the pulpits by Giovanni and Nicola Pisano at Pisa and Pistoia. Demonstrating that medieval sculptors orchestrated the reception of their intended religious and political messages through the careful manipulation of points of view and architectural space, Christopher R. Lakey argues that medieval practice was well informed by visual theory and that the concepts that led to the codification of linear perspective by Renaissance painters had in fact been in use by sculptors for hundreds of years. Revision and expansion of the author's thesis (doctoral--University of California, Berkeley, 2009) under the title: Relief in perspective: medieval Italian sculpture and the rise of optical aesthetics. Shipping may be from our Sydney, NSW warehouse or from our UK or US warehouse, depending on stock availability. …