MARC 主機 00000cam  2200565 i 4500 
001    1057375415 
003    OCoLC 
005    20200310032632.0 
008    190214t20192019enkaf    b    001 0 eng   
010    2019007309 
020    9781107172852|q(hardback) 
020    1107172853|q(hardback) 
035    (OCoLC)1057375415 
040    DLC|beng|erda|cDLC|dOCLCO|dOCLCF|dERASA|dUKMGB|dYDX|dIUL
       |dPUL|dOCLCQ|dAS 
042    pcc 
043    e-it--- 
050 00 NB623.V5|bN45 2019 
082 00 730.92|223 
100 1  Neilson, Christina,|eauthor 
245 10 Practice and theory in the Italian Renaissance workshop :
       |bVerrocchio and the epistemology of making art /
       |cChristina Neilson 
264  1 Cambridge, United Kingdom ;|aNew York, NY :|bCambridge 
       University Press,|c[2019] 
264  4 |c©2019 
300    x, 355 pages, 8 unnumbered pages of plates :
       |billustrations (some color) ;|c26 cm 
336    text|btxt|2rdacontent 
337    unmediated|bn|2rdamedia 
338    volume|bnc|2rdacarrier 
500    "First published 2018" appears on copyright page 
       incorrectly 
504    Includes bibliographical references and index 
505 0  Introduction -- 1. Verrocchio's ingenuity -- 2. 
       Verrocchio's Medici Tomb: art as treatise -- 3. Bridging 
       dimensions: Verrocchio's Christ and Saint Thomas as absent
       presence -- 4. The sculptured imagination -- 5. Material 
       meditations in Verrocchio's Bargello Crucifix -- 
       Conclusion -- A note on archival sources 
520    "Verrocchio was arguably the most important sculptor 
       between Donatello and Michelangelo, but he has seldom been
       treated as such in art historical literature because his 
       achievements were quickly superseded by the artists who 
       followed him. He was the master of Leonardo da Vinci, but 
       he is remembered as the sulky teacher that his star pupil 
       did not need. In this book, Christina Neilson argues that 
       Verrocchio was one of the most experimental artists in 
       fifteenth-century Florence, itself one of the most 
       innovative centers of artistic production in Europe. 
       Considering the different media in which the artist worked
       in dialogue with one another (sculpture, painting, and 
       drawing), she offers a novel analysis of Verrocchio's 
       unusual methods of manufacture. Neilson shows that, for 
       Verrocchio, making was a form of knowledge and that 
       techniques of making can be read as systems of knowledge. 
       By studying Verrocchio's technical processes, she 
       demonstrates how an artist's theoretical commitments can 
       be uncovered, even in the absence of a written treatise"--
       |cProvided by publisher 
600 10 Verrocchio, Andrea del,|d1435?-1488|xCriticism and 
       interpretation 
650  0 Artists' studios|zItaly|zFlorence|xHistory|y15th century