Baert B (137 results)

Condition: like_new. Still in original shrink-wrap. Appears unused. Pictures available upon request. Individually inspected by Shadow. Thanks for supporting an independent bookseller!

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

Condition: Very Good. Very good condition. Light wear. Binding tight, pages clean. Pictures available upon request.? AP.

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paperback. Condition: New. 1st.

paperback. Condition: New. 1st.

paperback. Condition: New. 1st.

paperback. Condition: New. 1st.

paperback. Condition: New. 1st.

paperback. Condition: New. 1st.

paperback. Condition: New. 1st.

paperback. Condition: New. 1st.

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

paperback. Condition: New. 1st.

paperback. Condition: New. 1st.

paperback. Condition: New. 1st.

paperback. Condition: New. 1st.

Condition: New. 2006. Paperback. . . . . .

paperback. Condition: New. 1st.

Paperback. Condition: new. Paperback. In 1935 Erwin Panofsky (1892-1968) was appointed the firstpermanent member of the School of Humanistic Studies (now the Schoolof Historical Studies) at the Institute for Advanced Study inPrinceton. The famous institute was founded by the American educatorAbraham Flexner (1866-1959). This essay contributes to thecontent and context of Panofskys important lecture The History ofArt as a Humanistic Discipline from1938. The publication of thatlecture functioned as a manifesto written by an intellectualemigre in a new American context. It is thanks to Panofskythat the locus classicus of iconography, as Irving Lavin(1927-2019) described the Institute for Advanced Study, received thecompelling arguments for an art history that deserves to be countedamong the humanities. A close reading of the text and an analysis ofits impact can still teach us something about the originsand development of the Art Historical field and Iconological Studiestoday. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Paperback. Condition: new. Paperback. Mark 6:14-29 and Matthew 14:1-12 recount the death of John theBaptist. Herod had him imprisoned for denouncing as incestuous hismarriage to Herodias, the former wife of his brother. During a banquet,Herodias daughter dances before Herod, who is so enchanted thathe promises her a favor. At her mothers behest, she asks for the headof John the Baptist. The king honors her request and has the headdelivered to her on a plate (in disco), which she gives to hermother. When the disciples of John discover about his death, theybury his headless body. In this essay I revisit the iconographic motifof the dancing girl from an interdisciplinary perspectiveinvolving exegesis, gender, anthropology, ritual performance,psycho-energetics, Pathosformeln and paragone. Mark 6:14-29 and Matthew 14:1-12 recount the death of John the Baptist. Herod had him imprisoned for denouncing as incestuous his marriage to Herodias, the former wife of his brother. During a banquet, Herodias' daughter dances before Herod, who is so enchanted that he promises her a favor. At her mother's behest, she asks for the he Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Paperback. Condition: new. Paperback. Behind them, close to the open door, there runs - no, that is not theword, there flies, or rather there hovers - the object of my dreams,which slowly assumes the proportion of a harming nightmare. A fantasticfigure - should I call her a servant girl, or rather a classical nymph?(.) This lively, light-footed and rapid gait, this striding step,which contrasts with the aloof distance of all other figures, what isthe meaning of it all? (.) My condition varied between a bad dream anda fairy tale (.). I lost my reason. It was always she who brought lifeand movement into an otherwise calm scene. Indeed, she appeared to bethe embodiment of movement (.) but is it very unpleasant to be herlover? (.) Who is she? Where does she come from? Have I encounteredher before? I mean one and a half millennia earlier? Does she come froma noble Greek lineage, and did her great-grandmother have an affair withpeople from Asia Minor, Egypt or Mesopotamia?pAby Warburg (1866-1929) Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Paperback. Condition: new. Paperback. In his Metamorphoses, Ovid (43 BC - AD 17) tells the story ofEcho and Narcissus. Echo's love for Narcissus ended in a cruel twist offate. Already punished with an echo for a voice, the nymph sufferedfurther as she petrified and her bones became stones. The study of arthas long focused on the Narcissus-mirror syndrome as a paradigm forpainting (Leon Battista Alberti (1404-1472)). Echo had no place in thismasculine scopic discipline. Recent approaches have rehabilitated Echofrom a visual, cultural and gendered point of view. Echo cries; shecries for an alternative to the mirror paradigm and oculocentrism. Shehelps us break free from Narcissus in favour of visual modalities suchas dissolution, camouflage and contamination, in short, disappearance asan alternative to the scopic regime. In this essay I treat the impact ofEcho on art history through the lenses of: gender, speech and hearing;Echo as textilisation and sacrifice; Echo as chthonic art; and, finally,Echo and le desir mimetique. With this approach, Idevelop a new hermeneutic to reintegrate the sonoric senses, camouflagetheory, gender epistemology, and the anthropological substrata ofnature, love and death into our Western obsession for mimetic thinking. In his Metamorphoses, Ovid (43 BC - AD 17) tells the story of Echo and Narcissus. Echo's love for Narcissus ended in a cruel twist of fate. This essay treats the impact of Echo on art history through the lenses of gender, speech and hearing; Echo as textilization and sacrifice; Echo as chthonic art; and, finally, Echo and le desir mi Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Paperback. Condition: new. Paperback. In his late 15th century chronicle (ca 1477-1484), Michael FabriciusFerrarinus (died between 1488-1493), prior of the Carmelite cloister inReggio Emilia, introduced the rumour that an ancient fountain had beenfound super ripam Danuvii (on the banks of the Danube) with thesculpted figure of a sleeping nymph. According to Ferrarinus, thefountain bore a peculiar epigram:HVIVS NYMPHA LOCI, SACRI CVSTODIA FONTIS,DORMIO, DVM BLANDAE SENTIO MVRMVR AQVAE.PARCE MEVM, QVISQVIS TANGIS CAVA MARMORA, SOMNVMRVMPERE. SIVE BIBAS SIVE LAVERE TACE.Many scholars have discussed the impact of the rumour as creating aprototype for Renaissance sculptures of the sleeping nymph in Rome andfor the development of the well-known genre of the sleeping Venus inpainting. Building upon the previous studies, this essay contextualizesthe phenomenon of the sleeping nymph and its textual and artistic Nachlebenfrom the point of view of the locus amoenus as silence. Thisstudy combines iconological, aesthetical-philosophical andanthropological approaches, and contributes to a better understanding ofsleep, voyeurism, water and silence within the context of the nymph'sparticular genius loci. In his late 15th century chronicle, Michael Fabricius Ferrarinus introduced the rumor that an ancient fountain had been found on the banks of the Danube with the sculpted figure of a sleeping nymph. Many scholars have discussed the impact of the rumour as creating a prototype for Renaissance sculptures of the sleeping nymph in Rome a Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Paperback. Condition: new. Paperback. The meaning of tearing and splitting as a life-, love- andwisdom-generating event (for example, the tearing of the temple curtain)is profoundly rooted in the visual and literary 'bodies' of ancient andChristian thought. The primordial cosmogonic split is always sudden, isalways sharp (like a knife), appears as a flash (sudden and allencompassing) and is experienced through the whole bodily sensorium (inshivering, bliss, sigh, wind, breath). The split is the epiphany ofradical change, revolution and the transition beyond. The Greek deityKairos embodies this mystery. The reach of Kairos can be detected in thetheory of rhetoric (Sophists vs. Aristotle (385-322 BC)), in humanisticpolitics, in postmodern theology and in contemporary time-management.Iconographical studies have treated Kairos's Nachleben inByzantine and Latin visual traditions where the god is conflated withFortuna and Occasio. This essay addresses the impact of Kairos and itsiconographic Nachleben from a literary and historicalperspective, and further considers Kairos as a new art historicalparadigm. Indeed, Kairos can offer us alternative hermeneutics toreconceive the image as chronotopos, as epiphany and as intercession. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Paperback. Condition: new. Paperback. A stain is the evidence of something that was. Its a trace. A stain maybe something quite ordinary: the ink stain on my index finger; the markof your fingers on this book. A stain may also be embarrassing: lipstickon a cheek; sweat rings under the arms; a bloody discharge. A stain maybe forensically incriminating. A stain may be kept for sentimentalreasons. Moreover, every stain has its own particular texture. Texturedenotes the consistency of a surface and the sensory, often tactileimprint that is left on it. The stain may be absorbed in thething that supports it; then again, it may stay on the surface,something separate. Every stain is unique. In this essay the authordeals with seven factors that make the stain into a powerful model forrethinking the visual: the stain as prototype and prefiguration, thestain as relic, the stain of Veronica, the stain as a psycho-energeticsymptom, the stain as pars pro toto for the womb, the stain andle desir mimetique and finally the stain as an image paradigm ofthe residue. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Condition: New. 2006. Paperback. . . . . . Books ship from the US and Ireland.

hardcover. Condition: New. 1st.

Paperback. Condition: new. Paperback. Publius Ovid (43 BC-17/18 AD) describes in his MetamorphosesNiobes transformation into a weeping rock. Niobes transformationincorporates the form and matter of the medium of sculpture. Accordingto the humanist paragone debate, painting and sculpture struggleto be the medium with the highest qualities of virtuosity. Aby Warburg(1866-1929) refers to the Niobe motifs Nachleben in his Tafel5: Beraubte Mutter. (Niobe, Flucht und Schrecken). This displays theimages of both the bereaved mother (Niobe) and the murderous mother(Medea). The montage also introduces the theme of the descent to theunderworld. It becomes clear how the cluster of motifs around the figureof Niobe - hybris, lamentatio and the chthonic substrate -functions as a direct entry to a bipolar hermeneutics of the visualmedium: the historical psychology of human expression that navigatesbetween Apollo and Dionysus. The 'weeping rock' that according to legendstill stands on Mount Sipylus in Turkey, draws upon deeperanthropological patterns. Petrification indicates inertia, frigidity anda Medusan psychosis of fear. In nature, stones and rocks have a'slumbering insistence' that can be captivating. Stones are after allvisible but impenetrable, they index an irrevocable absence in theirpresence, and have abode in an otherworldly region of utter blindnessand silence. From a psychoanalytical perspective, Niobes petrifactionsymbolises the straitening of her life and the loss of anima within aculture divorced from authentic feeling, nature, and instinct. HereNiobe meets Echo. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.