Origin Perspective by Damisch (19 results)

Paperback. Condition: Very Good. First Edition. It's a well-cared-for item that has seen limited use. The item may show minor signs of wear. All the text is legible, with all pages included. It may have slight markings and/or highlighting.

paperback. Condition: Good. First Edition. Corners are bent. Used - Good.

Softcover. Condition: Very Good. First Edition Thus. First MIT trade paperback edition, has bumps with light creasing to the spine ends and corners, rubbing with small smudges to the covers, sunning with thin reading creases to the spine, a bit of smudging to the edges of the text block, and foxing starting to the head. Overall, this is a firm and unmarked, Very Good copy.

Condition: Very Good. Former library copy. Pages intact with possible writing/highlighting. Binding strong with minor wear. Dust jackets/supplements may not be included. Includes library markings. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.

Condition: Good. 4to. Soft Cover. Very Good. 475 pp. Some B & W Plates.

Paperback. Condition: near fine(+). Quarto in creme, color illus wraps; xxiv, 477 pages: illustrations; 28 cm bibliographical references and index. "In part a response to Panofsky's Perspective as Symbolic Form, The Origin of Perspective is much more. In France it is considered one of the most important works of art history to have appeared in the last twenty years. With the exception of Michel Foucault's analysis of Las Meninas, it is perhaps the first time a structuralist method such as the one developed by Claude Levi-Strauss in The Way of the Masks has been thoroughly and convincingly applied to Western art. The task Damisch has set for himself is to refute both the positivist critics, whose approach makes up the bulk of perspective studies and is based on a complete repression of Panofsky's early work, and the current pseudo-avant-gardist position (whether in the field of cinema studies or in literary criticism), which tends to disregard facts and theoretical analysis. Damisch argues that if a theoretical analysis of perspective is possible, using all the tools of structuralist semiotics, it is only possible in the context of a close look at its appearance in history, beginning with the details of the "invention" of perspective. In the first part Damisch reassesses Panofsky's account, considered here as the theoretical starting block. While he appreciates the extraordinary depth of Panofsky's text, Damisch exposes its shortcomings, and prepares to show through various examples that perspective in painting is not simply a matter of verisimilitude, but of thought, the notion of "thought in painting" being at the core of his work. The second part of the book brings the historical invention of perspective into focus, discussing the experiments with mirrors made by Brunelleschi, connecting it to the history of consciousness via Jacques Lacan's definition of the "tableau" as "a configuration in which the subject as such gets its bearings." In the third - and most pointedly structuralist - part, Damisch traces the history of the "perspective paradigm," with a full discussion of the theoretical implications of its constitutive moments, in a brilliant analysis of the three known panel paintings of the "ideal City" produced in the quattrocento, in Piero della Francesca's works, in Carpaccio's works, and finally in Velasquez's Las Meninas." ? Publisher. / Contents: pt. 1. This Point Assigned by Perspective. 1. At the Crossroads. 2. Perspective, a Thing of the Past? 3. Knowledge and Truth -- pt. 2. The Prototype. 4. The Tradition. 5. The Question of the Origin. 6. The Monstration. 7. The Painting's Reasons. 8. The View. 9. Geometry Made Real. 10. The Renaissance and the Repetition of the Original -- pt. 3. Suspended Representation. 11. "Et anticho in prospettiva" 12. Distancing Maneuvers. 13. The Reading at an Impasse. 14. To See Them, You Say, and Describe Them. 15. De prospectita pingendi. 16. The Loci of the Subject. / Perspective. Perspective. 21.01 painting technique and materials. Perspective. Schilderkunst. Perspectief. Tekenkunst. Perspective. Identifier: Perspective Note(s): Includes bibliographical references and index. Tiny owner owner surname to front free enepaper top outer corner edge; very minor soiling to edges; else overall fine to near fine(+) thus. Small damp stain to bottom outer edge; esle overall very tight and clean. See photos.

Hardcover. Condition: Very Good. Dust Jacket Condition: Very Good. 1st Edition. First Edition. 10.75 x 8 inches. xxiv, 477 pp. b/w illustrations. Quarter brown cloth and beige paper boards lettered in gilt at spine. Foot of spine slightly sunned. Light wear to jacket edges, sunned along spine. Very Good in Very Good dust jacket. In mylar sleeve.

Soft cover. Condition: Very Good. No Jacket. First English Language Edition. Light wear to covers. Spine not creased. Internally clean. 504pp In part a response to Panofsky's Perspective as Symbolic Form, The Origin of Perspective is much more. In France it is considered one of the most important works of art history to have appeared in the last twenty years. With the exception of Michel Foucault's analysis of Las Meninas, it is perhaps the first time a structuralist method such as the one developed by Claude Le -Strauss in The Way of the Masks has been thoroughly and convincingly applied to Western art. The task Damisch has set for himself is to refute both the positivist critics, whose approach makes up the bulk of perspective studies and is based on a complete repression of Panofsky's early work, and the current pseudo-avant-gardist position (whether in the field of cinema studies or in literary criticism), which tends to disregard facts and theoretical analysis. Damisch argues that if a theoretical analysis of perspective is possible, using all the tools of structuralist semiotics, it is only possible in the context of a close look at its appearance in history, beginning with the details of the "invention" of perspective. Size: 175mm x 250mm. Book.

477 pp.; 27.2 x 20 cm.; sewn bound; black-and-white & color; edition size unknown; unsigned and unnumbered; offset-printed Hubert Damisch's work of critical theory "The Origin of Perspective," translated from the French by John Goodman. "In part a response to Panofsky's 'Perspective as Symbolic Form,' 'The Origin of Perspective' is much more. In France it is considered one of the most important works of art history to have appeared in the last twenty years. With the exception of Michel Foucault's analysis of 'Las Meninas,' it is perhaps the first time a structuralist method such as the one developed by Claude Lévi-Strauss in 'The Way of the Masks' has been thouroughly and convincingly applied to Western Art." --publishers statement. Very Good. Light shelf wear to dust jacket including soiling from dust. Contents are clean and unmarked and binding is tight to the spine. Due to large size and weight additional shipping charges may be required for international orders.

Hardcover. Condition: New. Dust Jacket Condition: Near Fine. New unread book. Dust jacket has a bit of light rubbing on front and back.

Hardcover. Condition: Very Good. Dust Jacket Condition: Very Good. A nice hardcover in a protective Mylar sleeve with a crisp dust jacket, a tight binding and an unmarked text. From a private smoke free collection. Shipping within 24 hours a tracking number and delivery confirmation.

Trade Paperback. Condition: Good to Very Good. No Jacket. First MIT Press Papeback Edition. 477 pages. Originally published in French under the title L'Origine de la perspecive. Translated by John Goodman. Bottom corners of the front cover and a few of the adjacent pages have a tiny curl. Size: 7 x 10 Inches.

Hardcover. Condition: Near Fine. Dust Jacket Condition: Near Fine. Qto., xxiv, 477 pages, 134 illustrations. A Near Fine, clean bright copy in a Near fine dust jacket.

Hardcover. Condition: new. New Copy. Customer Service Guaranteed.

Halbleinen. Condition: Sehr gut. 477 Seiten : Ill. ; Sprache: Englisch sehr guter Zustand, minimale Lagerspuren am Schutzumschlag, kleine Bleistiftnotiz im Vorsatz Sprache: Englisch Gewicht in Gramm: 1680.

Quarto, cream heavy boards, gilt lettering to brown cloth spine, xxiv + 477pp, illus/photos, VG (light bruising & soiling to board edges/extrems, sl soiling to spine, light foxing & soiling to page edges & eps, prev. bookseller's sm label to front pastedown, occasional pencil underlining & annotations) in d/w, VG (light to moderate creasing to edges, light fading to spine, moderate chafing & soiling, sm red label to rear).

Paperback. Condition: new. New Copy. Customer Service Guaranteed.

Hardcover. Condition: Near Fine. Dust Jacket Condition: Near Fine. 1st US Edition. 477 pages in near fine condition. Pages are clean and unmarked with black and white illustrations throughout. Quarterbound in brown cloth and beige paper. Lightly worn around the edges and bumped on the corners. Gilt titles on the spine. Beige dustjacket in near fine condition. Lightly worn and bumped around the edges. Sticker on the back of the jacket. 1ST US EDITION. NPC. NF/NF Size: 8 x 10 1/2. Book.

Cambridge, MIT Press, 1994. 477 pp., ills, 4to, h.cloth.