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4.7
56 reviewsIn this volume, Genevieve Warwick brings a dual focus to the topic through an exploration of the early modern elision of the picture plane with the mirror – image. She considers the specular configuration of Renaissance painting from various thematic points of view to offer a fully interdisciplinary analysis of the mirror analogy that pervaded not only art theory and art-making, but also the larger cultural spheres of philosophy, letters, and scientific observation. Warwick's volume recasts our understanding of the inter-visual relationships between disciplines, and their consequences for a specular definition of Renaissance painting.
