Absorption and Theatricality: Painting and Beholder in the Age of Diderot por Fried, Michael - 1988-09-15T00:00:01Z

University of Chicago Press, 1988. Paperback. Very Good. Disclaimer:A copy that has been read, but remains in excellent condition. Pages are intact and are not marred by notes or highlighting, but may contain a neat previous owner name. The spine remains undamaged. At ThriftBooks, our motto is: Read More, Spend Less.Dust jacket quality is not guaranteed.

University of Chicago Press, 1988-09-15. First Edition. paperback. Used: Good.

University of Chicago Press, 1988-09-15. paperback. Very Good. 7x1x10. Softcover. Good binding and cover. Clean, unmarked pages.

rear corner crease

U.S.A.: University of Chicago Press, 1988. Trade Paperback. Very Good. Some pencil notes and underlining. 249 pages.

University of Chicago Press. NEW, unread and unmarked oversized softcover, from our warehouse. Numerous illustrations. Published by The University of Chicago Press, 1988, with 266 total pages (xvii + 249). Spine is uncreased and unbroken. The book is clean and stain-free, square and straight, firm and tight in its binding, no pages are loose, missing, torn, folded, or wrinkled. Corners unbumped. Pages are crisp, bright and white, and all text is sharp and legible. There is no writing, underlining, highlighting, or any other such markings in the book. B27. . New. Softcover. 1988.

paperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book.

University of Chicago Press, 1988-09-15. First Edition. paperback. Used:Good.

Paperback / softback. New. New Book; Fast Shipping from UK; Not signed; Not First Edition; With this widely acclaimed work, Fried revised the way in which eighteenth-century French painting and criticism were viewed and understood."A reinterpretation supported by immense learning and by a series of brilliantly perceptive

Paperback / softback. New. With this widely acclaimed work, Fried revised the way in which eighteenth-century French painting and criticism were viewed and understood."A reinterpretation supported by immense learning and by a series of brilliantly perceptive readings of paintings and criticism alike. . . . An exhilarating book."--John Barrell, "London Review of Books"