Notice bibliographique
- Notice
Type(s) de contenu et mode(s) de consultation : Texte noté. Image fixe : sans médiation
Auteur(s) : Rubin, Patricia Lee (1951-....)
Titre(s) : Seen from behind [Texte imprimé] : perspectives on the male body and Renaissance art / Patricia Lee Rubin
Publication : New Haven : Yale university press, copyright 2018
Description matérielle : 1 vol. (288 p.) : ill. en coul. ; 29 cm
Note(s) : Includes bibliographical references (pages 218-277) and index
"Renaissance bodies, dressed and undressed, have not lacked attention in art historical
literature, but scholarship on the male body has generally concentrated on phallic-oriented
masculinity and been connected to issues of patriarchy and power. This original book
examines the range of meaning that has been attached to the male backside in Renaissance
art and culture, the transformation of the base connotation of the image to high art,
and the question of homoerotic impulses or implications of admiring male figures from
behind. Representations of the male body's behind have often been associated with
things obscene, carnivalesque, comical, or villainous. Presenting serious scholarship
with a deft hand, 'Seen from Behind' expands our understanding of the motif of the
male buttocks in Renaissance art, revealing both continuities and changes in the ways
the images convey meaning and have been given meaning"--Publisher's website
Autre(s) forme(s) du titre :
- Autre forme du titre : Perspectives on the male body and Renaissance art
Sujet(s) : Nu masculin
Renaissance -- Thèmes, motifs
Indice(s) Dewey :
704.942 3 (23e éd.) = Beaux-arts et arts décoratifs - Thème des hommes
Identifiants, prix et caractéristiques : ISBN 9780300236552 (rel.). - ISBN 0300236557
Identifiant de la notice : ark:/12148/cb457354578
Notice n° :
FRBNF45735457
(notice reprise d'un réservoir extérieur)
Table des matières : Preposterous perspectives : representations of the rear view : The visual repertoire
of the rear ; Dirty talk ; Abject to aesthetic ; Bare bottoms, bent elbows, and
bending meanings : The rhetoric of the image ; The pose of the queer ? ; Representing
love in the Florence of Duke Cosimo I ; Contexts, content, and complication ; "Especially
good in front and perfect from behind" : Cupid's targets ; The loves of gods and men
; Models, motif, and the migration of meaning : Standing strong/standing for strength
; The shape of Hercules ; Viewpoints and views : multiplying sides in painting and
sculpture : Viewpoints ; Turning points ; Monstrous multiplications : beauty and the
bizarre ; Torso style/dorsal style ; Posterity and the posterior : installation and
reproduction ; Behindsight : Michelangelo, modernity, and the specter of the ideal
male nude : "a certain image of nude figures" ; "la scuola del mondo" ; Michelangelo's
ghosts.
