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006 aocabe |||| 001 0d
007 ta
008 221220s2020 xxkocabe |||| 001 0deng c
020 |a9781838604813|q(HB)
020 |a9780755616619|q(PB)
020 |a9781838604820|q(ePDF)
020 |a9781838604844|q(eBook)
040 |aTTK
041 |aeng
049 |aTTK
090 |aA.IX/5014
100 1 |aRodini, Elizabeth.
245 10|aGentile Bellini's portrait of Sultan Mehmed II :|blives and afterlives of an iconic image /|cElizabeth Rodini.
250 |aFirst published [1. baskı].
260 |aLondon :|bI. B. Tauris,|c2020.
300 |axiv, 207 sayfa, [8] sayfa resim (renkli), minyatür (renkli), portre (renkli) :|bresim (kimi renkli), minyatür (kimi renkli), portre (kimi renkli), çizim, harita, tıpkıbasım ;|c24 cm
500 |aİndeks s. [203]-207.
504 |aBibliyografik notlar s. [151]-185.
504 |aBibliyografya s. [187]-201.
505 |tPursuing a portrait: subject, object, method --|tIn circulation: courtly exchange and the discourse of objects --|tEncounters: artist, subject, audiences, and the matter of truth in painting --|tHistory, memory, and the trails from Istanbul to Venice --|tSelf and other: excavating the orientalist imagination --|tConstructing authenticity: restoration, provenance, and reproduction --|tTo London? Emerging debates over cultural patrimony --|tArt, history, or heirloom? Classifying Gentile's portrait in the twentieth century --|tReturn to Istanbul: situating Mehmed's image today.
520 |a“In 1479, the Venetian painter Gentile Bellini arrived at the Ottoman court in Istanbul,
where he produced his celebrated portrait of Sultan Mehmed II. An important moment of
cultural diplomacy, this was the first of many intriguing episodes in the picture's history.
Elizabeth Rodini traces Gentile's portrait from Mehmed's court to the Venetian lagoon,
from the railway stations of war-torn Europe to the walls of London's National Gallery,
exploring its life as a painting and its afterlife as a famous, often puzzling image.
Rediscovered by the archaeologist Austen Henry Layard at the height of Orientalist
outlooks in Britain, the picture was also the subject of a lawsuit over what defines a
“portrait”; it was claimed by Italians seeking to hold onto national patrimony around 1900;
and it starred in a solo exhibition in Istanbul in 1999. Rodini's focused inquiry also ranges
broadly, considering the nature of historical evidence, the shifting status of authenticity
and verisimilitude, and the contemporary political resonance of Old Master paintings.
Told as an object biography and imagined as an exploration of art historical methodologies, this book situates Gentile's portrait in evolving dialogues between East and West, uncovering the many and varied ways that objects construct meaning“ -- Yayıncı.
600 14|aBellini, Gentile, 1429-1507.
600 04|aFatih Sultan Mehmed (Osmanlı Padişahı ; 1432-1481)|vPortreler.
650 4|aRessamlar|zİtalya|zVenedik.
650 4|aPadişah portreleri|zOsmanlı İmparatorluğu.
650 4|aKültürel varlıklar|zAvrupa.