Published by The Pennsylvania State University Press, Date: 1995. 1st edition.. Hardback. Very Good/Very Good. Illustrated by Titian, . Slightly better than very good condition in a very good dustwrapper. Large format. Maroon cloth with gilt title to spine. B/w illustrations and photos. Page edge browning/foxing. Wrapper is edge-creased with a few nicks; faded to spine. 1995. Published by The Pennsylvania State University Press ISBN 0271013397 9780271013398 [GB]

ISBN10: 0271013397, ISBN13: 9780271013398, [publisher: Pennsylvania State University Press.] Hardcover XVI, 215 Seiten / p., Abb. Aus der Bibliothek von Prof. Wolfgang Haase, langjährigem Herausgeber der ANRW und des International Journal of the Classical Tradition (IJCT) / From the library of Prof. Wolfgang Haase, long-time editor of ANRW and the International Journal of the Classical Tradition (IJCT). - Widmung des Autors an Wolfgang Haase / Dedication of the author to Wolfgang Haase - After classical antiquity, the Italian Renaissance raised the portrait, whether literary or pictorial, to the status of an important art form. Among sixteenth-century Renaissance painters, Titian made his reputation, and much of his living, by portraiture. Titian’s portraits were promoted by his friend, Pietro Aretino, an eminent poet and critic, who addressed his letters and sonnets to the same personages Titian portrayed. In many of these letters ( which often included sonnets ) , Aretino described both an individual patron and Titian’s portrait of that patron, thus stimulating the reciprocal relation between a verbal and pictorial portrait. By investigating this unprecedented historical phenomenon, Luba Freedman elucidates the meaning conveyed by the portrait as an artistic form in Renaissance Italy. -- Fusing iconographical analysis of the most famous Titian portraits with rhetorical analysis of Aretino’s literary legacy as compared to contemporary reactions, Freedman ...