Art and Illusion in The Winter's TaleManchester University Press, 1994 - 283 pages This work treats a single Shakespeare play from a number of perspectives. The author combines insights from contemporary psychology with art, social and stage histories to challenge the limits of current positivist critical theories. The book also has a central theme: how the dark side of art and illusion must be represented in order to establish the redemptive pattern which The Winter's Tale shares with Shakespeare's other late tragi-comedies. |
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Page 11
... later chapters . These writings indicate that visual art may benefit from a degree of indefiniteness . In Art and Illusion Gombrich traced historically this same concept in the Italian Renaissance , and in particular drew attention to ...
... later chapters . These writings indicate that visual art may benefit from a degree of indefiniteness . In Art and Illusion Gombrich traced historically this same concept in the Italian Renaissance , and in particular drew attention to ...
Page 97
... later modified his style to become , according to E. H. Gombrich , the ' typical representative ' of a second generation of Italian Renaissance artists who freely adapted from the antique , and for whom realistic portrayal was not ...
... later modified his style to become , according to E. H. Gombrich , the ' typical representative ' of a second generation of Italian Renaissance artists who freely adapted from the antique , and for whom realistic portrayal was not ...
Page 207
... later reports on Italian art are discussed in Whalley , 1971 , pp . 190–1 ; this article also , pp . 184–5 , illustrates and discusses a letter of 1609 from William Cecil , later the second Earl of Exeter , to the Earl of Shrewsbury ...
... later reports on Italian art are discussed in Whalley , 1971 , pp . 190–1 ; this article also , pp . 184–5 , illustrates and discusses a letter of 1609 from William Cecil , later the second Earl of Exeter , to the Earl of Shrewsbury ...
Contents
Aesthetic codes and Renaissance concepts | 10 |
Shakespeares portrait of the individual | 31 |
metamorphic | 55 |
Copyright | |
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accept according actual appears Aretino argued artistic audience Autolycus bear become believe called Camillo chapter character claim colour complex concerning connection consider course court courtiers critics death described desire discussed effect emotional England English especially evidence expressed feelings figure Flora Florizel flowers Giulio Giulio Romano gives Gombrich hand Hermione Hermione's historical holds human idea imagination important instance interest interpretation Italian Italy John kind King knowledge late later Leontes less living marriage meaning mind nature offers original painted particular Paulina's Perdita perhaps play play's Polixenes possible present psychological question reading references relation Renaissance represented role says scene seems seen sexual Shake Shakespeare's shows similar social soliloquy sort specific statue stone studies suggest symbolic theatrical theory tion tradition visual Winter's Tale witchcraft witches writers