Victor Stoichita Book order

Difference exists; otherness is constructed. This book asks how important Western artists, from Giotto to Titian and Caravaggio, and from Bosch to Dürer and Rembrandt, shaped the imaging of non-Western individuals in early modern art. Victor I. Stoichita’s nuanced and detailed study examines images of racial otherness during a time of new encounters of the West with different cultures and peoples, such as those with dark Muslims and Jews. Featuring a host of informative illustrations and crossing the disciplines of art history, anthropology, and postcolonial studies, Darker Shades also reconsiders the Western canon’s most essential perspective, pictorial narrative, composition, bodily proportion, beauty, color, harmony, and lighting. What room was there for the “Other,” Stoichita would have us ask, in such a crystalline, unchanging paradigm?

In this investigative tour de force, now available in a new format edition, Victor I. Stoichita untangles the history of one of the most enduring technical and symbolic challenges to confront Western artists - the depiction and meanings of shadows.

Victor I. Stoichitas Neuinterpretation eines der berühmtesten und zugleich rätselhaftesten Gemälde der italienischen Renaissance, Vittore Carpaccios »Vision des Heiligen Augustinus«, ist aufsehenerregend. Carpaccio (um 1465–1525) schuf das Gemälde zu Beginn des 16. Jahrhunderts als Teil eines Ausstattungszyklus zu Ehren des Heiligen Hieronymus in der Scuola degli Schiavoni in Venedig. Wie es Carpaccio vermochte, ein telepathisches Wunder im Medium Malerei wiederzugeben, verdeutlicht Stoichita hier nicht nur, indem er Klarheit in die komplexe Ikonographie des Gemäldes bringt, die Textgrundlage einer Re-Lektüre unterzieht und das dichte Gewebe an Verbindungslinien zwischen geschriebener und gemalter Erzählung darlegt. Seine Interpretation des Bildes verändert auch entscheidend die Sicht auf das Programm und den Sinn des Gemäldezyklus im Ganzen. Das Buch entstand im Rahmen der Panofsky-Professur am Zentralinstitut für Kunstgeschichte München, die Victor I. Stoichita im Jahr 2016 innehatte.

An investigative tour de force. It untangles the history of one of the most enduring technical and symbolic challenges to beset Western artists - the depiction and meanings of shadows.

An account of how Spanish painters of the sixteenth and seventeenth centuries dealt with mystic visions in their art, and of how they attempted to 'represent the unrepresentable' that aims to establish a theory of visionary imagery in Western art in general, and one for the Spanish Counter-Reformation in particular.