潘诺夫斯基论提香/文艺复兴经典书系

本书是潘诺夫斯基晚期艺术史研究的代表作，也是其讲座风格的研究方法的典型体现。在众多艺术家中，提香是潘诺夫斯基喜爱的一位艺术家，也是其倾注精力多的艺术家之一。从1963年至其1968年去世，有关提香的研究更是构成潘诺夫斯基的一个核心关注点，而这一研究终集中体现在《潘诺夫斯基论提香》这部著作中。通过这部著作，我们可以从各个方面来重建潘诺夫斯基的具体研究方法。

本书是潘诺夫斯基晚期艺术史研究的代表作，也是其讲座风格的研究方法的典型体现。在众多艺术家中，提香是潘诺夫斯基最喜爱的一位艺术家，也是其倾注精力最多的艺术家之一。从1963年至其1968年去世，有关提香的研究更是构成潘诺夫斯基的一个核心关注点，而这一研究最终集中体现在《潘诺夫斯基论提香》这部著作中。通过这部著作，我们可以从各个方面来重建潘诺夫斯基的具体研究方法。

作者欧文·潘诺夫斯基，美国著名艺术史家，在图像学领域有突出贡献，对二战以后西方艺术史研究有巨大影响，著有《视觉艺术的含义》等。译者陈辉，哲学博士，中国人民大学哲学院讲师，主要研究领域为图像理论、现象学。

【目录】
第1章 导论······································································································· 001
第2章 圣经和圣徒传的一些问题·································································· ·026   
第3章 对位：伪装的中世纪程式和古典程式················································057  
第4章 对时间的反思························································································086·   
第5章 对爱与美的反思····················································································106  
第6章 提香和奥维德························································································136 

附录······················································································································170   
附录1：关于文献目录的一些注释································································170 
附录2：提香出生日期的问题········································································175   
附录3：卡多雷之战························································································178  
附录4：提香与塞森格····················································································181  
附录5：伊莎贝拉皇后的肖像········································································183  
附录6：宗教的寓言························································································185   
附录7：罗浮宫的“帕尔多维纳斯” ··························································189

索引·&mi