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Author: Marina Belozerskaya
Publisher: Getty Publications
ISBN: 0892367857
Category : Art
Languages : en
Pages : 292
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Book Description
Today we associate the Renaissance with painting, sculpture, and architecture—the “major” arts. Yet contemporaries often held the “minor” arts—gem-studded goldwork, richly embellished armor, splendid tapestries and embroideries, music, and ephemeral multi-media spectacles—in much higher esteem. Isabella d’Este, Marchesa of Mantua, was typical of the Italian nobility: she bequeathed to her children precious stone vases mounted in gold, engraved gems, ivories, and antique bronzes and marbles; her favorite ladies-in-waiting, by contrast, received mere paintings. Renaissance patrons and observers extolled finely wrought luxury artifacts for their exquisite craftsmanship and the symbolic capital of their components; paintings and sculptures in modest materials, although discussed by some literati, were of lesser consequence. This book endeavors to return to the mainstream material long marginalized as a result of historical and ideological biases of the intervening centuries. The author analyzes how luxury arts went from being lofty markers of ascendancy and discernment in the Renaissance to being dismissed as “decorative” or “minor” arts—extravagant trinkets of the rich unworthy of the status of Art. Then, by re-examining the objects themselves and their uses in their day, she shows how sumptuous creations constructed the world and taste of Renaissance women and men.
Author: Marina Belozerskaya
Publisher: Getty Publications
ISBN: 0892367857
Category : Art
Languages : en
Pages : 292
Get Book Here
Book Description
Today we associate the Renaissance with painting, sculpture, and architecture—the “major” arts. Yet contemporaries often held the “minor” arts—gem-studded goldwork, richly embellished armor, splendid tapestries and embroideries, music, and ephemeral multi-media spectacles—in much higher esteem. Isabella d’Este, Marchesa of Mantua, was typical of the Italian nobility: she bequeathed to her children precious stone vases mounted in gold, engraved gems, ivories, and antique bronzes and marbles; her favorite ladies-in-waiting, by contrast, received mere paintings. Renaissance patrons and observers extolled finely wrought luxury artifacts for their exquisite craftsmanship and the symbolic capital of their components; paintings and sculptures in modest materials, although discussed by some literati, were of lesser consequence. This book endeavors to return to the mainstream material long marginalized as a result of historical and ideological biases of the intervening centuries. The author analyzes how luxury arts went from being lofty markers of ascendancy and discernment in the Renaissance to being dismissed as “decorative” or “minor” arts—extravagant trinkets of the rich unworthy of the status of Art. Then, by re-examining the objects themselves and their uses in their day, she shows how sumptuous creations constructed the world and taste of Renaissance women and men.
Author: J. Paul Getty Museum
Publisher:
ISBN:
Category : Drawing
Languages : en
Pages : 380
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Book Description
Author: World Bank Group
Publisher: World Bank Publications
ISBN: 1464806721
Category : Business & Economics
Languages : en
Pages : 359
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Book Description
Digital technologies are spreading rapidly, but digital dividends--the broader benefits of faster growth, more jobs, and better services--are not. If more than 40 percent of adults in East Africa pay their utility bills using a mobile phone, why can’t others around the world do the same? If 8 million entrepreneurs in China--one third of them women--can use an e-commerce platform to export goods to 120 countries, why can’t entrepreneurs elsewhere achieve the same global reach? And if India can provide unique digital identification to 1 billion people in five years, and thereby reduce corruption by billions of dollars, why can’t other countries replicate its success? Indeed, what’s holding back countries from realizing the profound and transformational effects that digital technologies are supposed to deliver? Two main reasons. First, nearly 60 percent of the world’s population are still offline and can’t participate in the digital economy in any meaningful way. Second, and more important, the benefits of digital technologies can be offset by growing risks. Startups can disrupt incumbents, but not when vested interests and regulatory uncertainty obstruct competition and the entry of new firms. Employment opportunities may be greater, but not when the labor market is polarized. The internet can be a platform for universal empowerment, but not when it becomes a tool for state control and elite capture. The World Development Report 2016 shows that while the digital revolution has forged ahead, its 'analog complements'--the regulations that promote entry and competition, the skills that enable workers to access and then leverage the new economy, and the institutions that are accountable to citizens--have not kept pace. And when these analog complements to digital investments are absent, the development impact can be disappointing. What, then, should countries do? They should formulate digital development strategies that are much broader than current information and communication technology (ICT) strategies. They should create a policy and institutional environment for technology that fosters the greatest benefits. In short, they need to build a strong analog foundation to deliver digital dividends to everyone, everywhere.
Author: IUCN Commission on Environmental Planning
Publisher: IUCN
ISBN: 9782880320591
Category : Nature
Languages : en
Pages : 100
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Book Description
Author: William Stanley Rubin
Publisher:
ISBN:
Category : Art, Modern
Languages : en
Pages : 252
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Book Description
Author: Fiona Greenland
Publisher: University of Chicago Press
ISBN: 022675703X
Category : History
Languages : en
Pages : 264
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Book Description
"A major, on-the-ground look at antiquities looting in Italy. More looting of ancient art takes place in Italy than in any other country. Ironically, Italy trades on the fact to demonstrate its cultural superiority over other countries. And, more than any other country, Italy takes pains to prevent looting by instituting laws, cultural policies, export taxes, and a famously effective art-crime squad that has been the inspiration of novels, movies, and tv shows. In fact, Italy is widely regarded as having invented the discipline of art policing. In 2006 the then-president of Italy declared his country to be "the world's greatest cultural power." Why do Italians believe this? Why is the patria, or "homeland," so frequently invoked in modern disputes about ancient art, particularly when it comes to matters of repatriation, export, and museum loans? Fiona Greenland's Ruling Culture addresses these questions by tracing the emergence of antiquities as a key source of power in Italy from 1815 to the present. Along the way, it investigates the activities and interactions of three main sets of actors: state officials (including Art Squad agents), archaeologists, and illicit excavators and collectors"--
Author:
Publisher:
ISBN:
Category :
Languages : en
Pages :
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Author: David Damrosch
Publisher: Princeton University Press
ISBN: 0691234558
Category : Literary Criticism
Languages : en
Pages : 400
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Book Description
Paperback reprint. Originally published: 2020.
Author: Carlos Marighella
Publisher: Pattern Books
ISBN: 5848031827
Category : Political Science
Languages : en
Pages : 92
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Book Description
Minimanual of the Urban Guerrilla is a call to action, no matter how small. It is a small book which gives advice on how to overthrow an authoritarian regime, aiming at revolution. Minimanual was written to be concise and and to describe the ways for successful revolution. This book has been fought over to keep in print time and time again after being banned in multiple countries, and while there are a few copies consistently recurring in print today, we wish to spread this important revolutionary text further. Eliminating its copyright. Do not let this minimanual be an isolated event, share it, keep it in your pocket to read, and spread it. If you have the means, print it from home as well from our zine library.
Author: Donald MacKenzie
Publisher: MIT Press
ISBN: 0262250047
Category : Technology & Engineering
Languages : en
Pages : 782
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Book Description
In An Engine, Not a Camera, Donald MacKenzie argues that the emergence of modern economic theories of finance affected financial markets in fundamental ways. These new, Nobel Prize-winning theories, based on elegant mathematical models of markets, were not simply external analyses but intrinsic parts of economic processes. Paraphrasing Milton Friedman, MacKenzie says that economic models are an engine of inquiry rather than a camera to reproduce empirical facts. More than that, the emergence of an authoritative theory of financial markets altered those markets fundamentally. For example, in 1970, there was almost no trading in financial derivatives such as "futures." By June of 2004, derivatives contracts totaling $273 trillion were outstanding worldwide. MacKenzie suggests that this growth could never have happened without the development of theories that gave derivatives legitimacy and explained their complexities. MacKenzie examines the role played by finance theory in the two most serious crises to hit the world's financial markets in recent years: the stock market crash of 1987 and the market turmoil that engulfed the hedge fund Long-Term Capital Management in 1998. He also looks at finance theory that is somewhat beyond the mainstream—chaos theorist Benoit Mandelbrot's model of "wild" randomness. MacKenzie's pioneering work in the social studies of finance will interest anyone who wants to understand how America's financial markets have grown into their current form.
