Description
This book is the first to focus on a paradox of anatomical images from the Renaissance to the 18th century: the representation of skeletons and flayed figures in a state of animation, i. e. apparently endowed with life despite the logical impossibility of this being so. The exploration of this phenomenona paradox in modern eyes onlyentails careful study of the deep coherence between artistic and anatomical theory, a coherence that developed within the same framework of thinking (humanist rhetoric), and was determined by a dominant philosophical concept (teleology).
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