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Extra info for A Companion to Art Theory (Blackwell Companions in Cultural Studies)
By G. L. Hendrickson and H. M. Hubbell, Loeb Classical Library, p. 311 Horace (1966) Ars poetica 1–37, trans. by H. Rushton Fairclough, Loeb Classical Library, pp. 7, trans. by Wladyslaw Tatarkiewicz, in History of Aesthetics, vol. 1, Ancient Aesthetics, Mouton, pp. 302, 305 Philo of Alexandria (1970) De opiﬁcio mundi 4, trans. by Wladyslaw Tatarkiewicz, in History of Aesthetics, vol. 1, Ancient Aesthetics, Mouton, p. 22, trans. by F. C. Conybeare, Loeb Classical Library, pp. 173–9 Plato (1956) The Republic 507B–C, 595B, 598A, trans.
Jr. (1975) The Renaissance Rediscovery of Linear Perspective, Harper and Row Elkins, James (1994) The Poetics of Perspective, Cornell University Press Fried, Michael (1980) Absorption and Theatricality: Painting and Beholder in the Age of Diderot, University of California Press Godel, Joan (1969) Leon Battista Alberti: Universal Man of the Early Renaissance, University of Chigago Press Goldstein, Carl (1996) Teaching Art, Academies and Schools from Vasari to Albers, Cambridge University Press Grafton, Anthony (2000) Leon Battista Alberti: Master Builder of the Italian Renaissance, Penguin Greenhalgh, Michael (1978) The Classical Tradition in Art, Duckworth Hulse, Clark (1990) The Rule of Art: Literature and Painting in the Renaissance, University of Chicago Press Jarzombek, Mark (1989) On Leon Baptista Alberti, his Literary and Aesthetic theories, MIT Press Kemp, Martin (1997) Behind the Picture: Art and Evidence in the Italian Renaissance, Yale University Press Kristeller, Paul Oskar (1990) Renaissance Thought and the Arts, Princeton University Press Panowsky, Erwin (1970) ‘History of the theory of human proportion as a reﬂection of the history of style’, in Meaning in the Visual Arts, Penguin, pp.
But the ethos of this tradition, and the Albertian principles of moral scale that informed it, continued to underpin the authority of much American Abstract painting. However, it possibly reached its point of introversion in the work of so-called postmodernist painters. In Julian Schnabel’s ebullient paintings of the 1980s, for example, there is still an heroic scale and some elusive reference to great human themes. But it is a self-referential drama of heroic creativity, drawing on chance cultural references displaced from any wider public concerns.
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