Toronto-Buffalo-London, 2016. Cm. 23x16, pp. xii-272, figg. in nero n. t., tela e sovrac.
Intricate, expressive, given to grandeur and even excess, Baroque art as a style is inseparable from the meanings it seeks to convey. Vernon Hyde Minor’s Baroque Visual Rhetoric probes this combination of style and message and – equally importantly – the methodological basis on which the critical art historian comes to establish that meaning. Drawing on a breathtaking range of critical literature, from the German founders of art history as an academic discipline to Heidegger, Derrida, and de Man, Minor considers the issue through a series of Baroque masterpieces: Bernini’s Baldacchino St. Peter’s Basilica, the statues in the church of San Giovanni in Laterano, Borromini’s church of Sant’Ivo alla Sapienza, Baciccio’s frescoes in the church of Il Gesù, the paintings of Philippe de Champaigne, and the Corsini Chapel in San Giovanni in Laterano
Toronto, 2003. In-8¡, pp. viii-296, tela e sovrac.
Toronto-Buffalo-London, 2006. In-8¡, pp. xv-372, tavv. 16 a col. e ill. 65 in nero f. t., br.