Pindar Press - publishers of art history and archaeology

European Art since the Renaissance

The Form of Meaning
The Meaning of Form
Studies in the History of Art from Late Antiquity to Jackson Pollock

by Irving Lavin

Vol I
24 x 17 cm 680 pp. 365 illus.
£150.00
Publication: March 2007
ISBN 1 899828 40 0
Cloth Bound

Vol II
24 x 17 cm 650 pp. 283 illus.
£150.00
Publication: March 2007
ISBN 1 904597 47 5
Cloth Bound

These two volumes 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. They are divided here by date, and include seven studies on the art of Antiquity and the Middle Ages, nine on the art of the Renaissance, eight on further topics in sixteenth-century art, seven on the Baroque, and six on Modern Art. There are three studies on the history of theatre and stage design, and twelve papers on the history of art in general, including obituaries of a number of influential art
historians.

Lavin’s prize-winning study of Late Antique architecture and pioneering work on North African floor mosaics are included here. His interest in the Italian Renaissance appears in studies on the iconography of the myth of Cephalus and Procris, and the relationship between form and content in works by Donatello, Michelangelo, Pontormo, and Giovanni Bologna. The twentieth century is represented by essays on the printmaking of Picasso and the painting of Jackson Pollock.

Vol I Contents:

Preface
I. Antiquity and the Early Middles Ages: Review of David Talbot Rice, ed., The Great Palace of the Byzantine Emperors
The House of the Lord, Aspects of the Role of Palace Triclinia in the Architecture of Late Antiquity and the Early Middle Ages
The Mosaic Pavements at Arsameia on the Nymphaios
The Hunting Mosaics of Antioch and Their Sources. A Study of Compositional Principles in the Development of Early Mediaeval Style
The Ceiling Frescoes in Trier and Illusionism in Constantinian Painting
An Ancient Statue of the Empress Helen Reidentified; Reason and Unreason at Olynthus
II. The Renaisssance: Cephalus and Procris. Transformations of an Ovidian Myth
Cephalus and Procris. Underground Transformations
The Sources of Donatello’s Pulpits in San Lorenzo. Revival and Freedom of Choice in the Early Renaissance
The Sculptor’s “Last Will and Testament”
Donatello’s Bronze Pulpits in San Lorenzo and Early Christian Revival
David’s Sling and Michelangelo’s Bow: a Sign of Freedom; Pisanello and the Invention of the Renaissance Medal
The Problem of the Choir of Florence Cathedral
Santa Maria del Fiore: Image of the Pregnant Madonn
III. Sixteenth Century: An Observation on ‘Medievalism’ in Early Sixteenth Century Style
Michelangelo’s Saint Peter’s Pietà. The Virgin’s Left Hand and Other New Photographs
Letter to the editor on an article by Juergen Schulz, “Michelangelo’s Unfinished Works”
Giambologna’s Neptune at the Crossroads
Ex Uno Lapide: The Renaissance Sculptor’s Tour de Force
Michelangelo’s Medici Madonna: Spouse and Son
The Angel and the City. Baccio Bandinelli’s Project for the Castel Sant’Angelo in Rome
Letter to the Editor. “Michelangelo’s Florentine Pietà”.

Vol I Contents:

IV. Baroque: The Baroque Decorations in San Silvestro in Capite, Rome
Review of John Pope-Hennessy, Italian High Renaissance and Baroque Sculpture
[with the collaboration of Marilyn Aronberg Lavin] Duquesnoy’s Nano di Créqui and Two Busts by Francesco Mochi
[with the collaboration of Marilyn Aronberg Lavin] Pietro da Cortona Documents from the Barberini Archive
Fischer von Erlach, Tiepolo, and the Unity of the Visual Arts
[With Marilyn Aronberg Lavin] Rembrandt’s Jewish Bride: Sister and Spouse
Georges de La Tour. The Tears of St. Peter and the ‘Occult’ Light of Penitence
V. Modern: Abstraction in Modern Painting. A Comparison
A Fragment, in Paul Suttman. The Master-Pieces. 1981-1991, New York, 1991, 3; Picasso’s Lithograph(s): “The Bull(s)” and the History of Art in Reverse
The Body Artist; Storm King: The Genius of the Place
Théodore Aubanel’s Les Filles d’Avignon and Picasso’s Sum of Destructions
Going for Baroque: Observations on the Post-Modern Fold; VI. Theater: On the Unity of the Arts and the Early Baroque Opera House
The Campidoglio and Sixteenth-Century Stage Design
Review of Alois Maria Nagler, Theatre Festivals of the Medici 1539-1637; VII. Art History: When Vatican Art Goes on the Road
Words in Memory of Horst Woldemar Janson
The Art of Art History
Obituary. Howard Hibbard 1928-84
Iconography Group discussion published in The Relationship between Art and Architecture
Iconography as a Humanistic Discipline (Iconography at the Crossroads)
Panofsky’s History of Art
The Crisis of Art; Remarks in Celebration of the Centenary of the Kunsthistorisches Institut in Florenz
Intoduction to Erwin Panofsky. Three Essays on Style
Panofsky, Gombrich, Bredekamp : D.D.D.
Index