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090    ND623.T5 A84 1994 
100 1  Alpers, Svetlana.|0https://id.loc.gov/authorities/names/
       n82059588 
245 10 Tiepolo and the pictorial intelligence /|cSvetlana Alpers,
       Michael Baxandall. 
264  1 New Haven :|bYale University Press,|c[1994] 
264  4 |c©1994 
300    ix, 186 pages :|billustrations (some color) ;|c28 cm 
336    text|btxt|2rdacontent 
337    unmediated|bn|2rdamedia 
338    volume|bnc|2rdacarrier 
504    Includes bibliographical references (pages 175-182) and 
       index. 
505 00 |gI.|tA Taste for Tiepolo.|g1.|tDeclining taste.|g2.
       |tPainting.|g3.|tPainter.|g4.|tPainting in view.|g5.
       |tPerforming Veronese.|g6.|tDogs, clouds, poles as 
       devices.|g7.|tDiscovery as a pictorial theme.|g8.|tPara-
       narrative.|g9.|tMusic of the Moses.|g10.|tIncantesimo --
       |gII.|tInstruments of Invention: Drawing, Paint, Light.
       |g1.|tPen and wash.|g2.|tMovement of the hand.|g3.|tLine 
       and the edges of known objects.|g4.|tGenerating the 
       phenomenal.|g5.|tSummary: graphic process and visual 
       process.|g6.|tOil sketch.|g7.|tHue as timbre: colour as 
       light.|g8.|tTowards fresco.|g9.|tShadow: Cochin on 
       Tiepolo.|g10.|tMobility of lighting (Gesuati 1).|g11.
       |tNegotiations with site lighting (Gesuati 2).|g12.
       |tStimulus of mobile light --|gIII.|tTreppenhaus at 
       Wurzburg.|g1.|tBalthasar Neumann's light theatre: sources 
       and surface.|g2.|tPerambulation: negotiating with the 
       windows.|g3.|tCritique of rotational symmetry.|g4.
       |tMeanings and dimensions.|g5.|tGroups: propagation from 
       the oil sketch.|g6.|tA maze not without a plan.|g7.
       |tDrawing, scale and self-similarity.|g8.|tRococo lever: 
       objects v. fields.|g9.|tProblem of Europe.|g10.
       |tBracketing the moral.|tAppendix: Tiepolo in situ. 
520    Tiepolo is a brilliant example of the specifically 
       pictorial intelligence. This book is both a study of his 
       art and an argument for fuller recognition of the 
       peculiarities of the painter's representational medium. 
       Alpers and Baxandall locate distinctive modes of Tiepolo's
       representation of the world and human action; follow his 
       process of invention from first pen drawings, through 
       small oil sketches, to great frescoes; and analyse his 
       best and biggest painting, the Four Continents in the 
       Stairway Hall of the Prince-Bishop's Residence at Wurzburg,
       illustrated with photographs specially taken for the book.
520 8  The topics taken up include: painting's resistance to 
       enacted narrative drama, its engagement with 
       indeterminacies and repetitions, the senses in which a 
       painter may 'perform' both past art and himself, the 
       constructive roles of gestural drawing, exploitation of 
       shifts of scale between design and finished work, dialogue
       between the changing natural site lighting and in-picture 
       lighting, contributions made by the beholder's own 
       mobility, the expressive scope of tensions between two and
       three dimensions, the deep rationale of rococo formal 
       structure, and the sources of the moral force of pictures 
       without an explicit moral. The book - both art criticism 
       and a practical polemic - ends with an annotated gazetteer
       for travellers, listing those Tiepolo paintings that can 
       still be seen in the places and conditions for which he 
       painted them. 
561    In Memory of Laurie A. Chreitzberg. 
600 10 Tiepolo, Giovanni Battista,|d1696-1770|0https://id.loc.gov
       /authorities/names/n80045041|xCriticism and 
       interpretation.|0https://id.loc.gov/authorities/subjects/
       sh99005576 
600 14 Tiepolo, Giovanni Battista,|d1696-1770. 
600 17 Tiepolo, Giovanni Battista,|d1696-1770.|2fast|0https://
       id.worldcat.org/fast/53354 
600 17 Tiepolo, Giovanni Battista|d(1696-1770).|2ram 
650  7 Criticism and interpretation.|2fast|0https://
       id.worldcat.org/fast/1198648 
653 0  Paintings 
653 0  Italy 
700 1  Baxandall, Michael.|0https://id.loc.gov/authorities/names/
       n79117251 
901    MARCIVE 20231220 
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994    C0|bRID