Böcker av Irving Lavin

In 2004, Irving Lavin gave the six lectures that make up this book. They were delivered at the National Gallery of Art in Washington, DC, as part of the Andrew W. Mellon Lectures in the Fine Arts, an annual series established in 1949, as Mellon himself said, "to bring to the people of the United States the results of the best contemporary thought and scholarship." Lavin's lectures as delivered, however, were only the first step in expressing his results. He continued to develop the texts over the next decade and a half."More than Meets the Eye" is a simple phrase hiding an unexpected wealth of meaning. English literature, ranging from Milton to Galsworthy, provides parallels to the modern turn of phrase. It became a popular piece of jargon in the development of American advertising, and by the 1930s it headed illustrated ads that flooded the market with pictures meant to show the qualities of the merchandise consumers were being encouraged to buy. It even had its antithesis: "What you see is what you get," with an acronym "wysiwyg," still in use at the beginning of the twenty-first century, mainly to describe the page-like interface - hiding a myriad of computer technology - of Macintosh and other computer systems.This book's subtitle, "Irony, Paradox, and Metaphor in the History of Art," contains terms associated with rhetoric, oratory, and literature. Such terms ready the reader to meet ideas that lie beyond, under, over, and around the works to be considered. Lavin thus uncovers - within the artist's intellectual and emotional tool box - meanings not usually associated with static and stable visual images, namely "figures of speech" set forth in visual form. The aim of this book is to unveil this inner life, the mysterious "more" offered by the visual artist, the very "results" Mr. Mellon requested.Marilyn Aronberg Lavin has now assembled, edited, and updated these lectures, their notes and bibliography to present a comprehensive collection of richly illustrated essays. This follows upon her previous edition of Irving Lavin's Slade Lectures at Oxford, published by Italica Press in 2020 as The Art of Commemoration in the Renaissance.352 pages, preface, notes, bibliography, index.302 black-and-white and color figures.

This work in two volumes brings together all of Irving Lavin's studies aside from those on Gian Lorenzo Bernini. They range from studies of the art and architecture of Late Antiquity to twentieth-century painting in New York.

Volumes I and II bring together all of Irving Lavin's studies aside from those on Gian Lorenzo Bernini. They range from studies of the art and architecture of Late Antiquity to twentieth-century painting in New York.

As early as the 1950s, Professor Irving Lavin was recognized as a major voice in American art history. His sustained production of seminal scholarly contributions have left their mark on an astonishingly wide range of -subjects and fields. Bringing these far-reaching publications together will not only provide a valuable resource to scholars and -students, but will also underscore fundamental themes in the history of art - historicism, the art of commemoration, the relationship between style and meaning, the -intelligence of artists - themes that define the role of the visual arts in human communication. Irving Lavin is best known for his array of fundamental publications on the Baroque artist Gian Lorenzo Bernini (1598-1680). These include new discoveries and studies on the master's prodigious childhood, his architecture and -portraiture, his invention of caricature, his depictions of religious faith and political leadership, his work in the -theatre, his attitude toward death and the role of the artist in the creation of a modern sense of social responsibility. All of Professor Lavin's papers on Bernini are here brought together in three volumes. The studies have been reset and in many cases up-dated, and there is a comprehensive index.