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Lew Andrews

Biographic Data

ID5920567
NAMELew Andrews
GIVEN NAMESLew
FAMILY NAMEAndrews
SIGNATUREANDREWS L
AFFILIATIONSUniversity of Hawaiʻi at Mānoa
VERIFIEDNo
TOTAL WORKS11
TOTAL CITATIONS0
WORKS AS AUTHOR11
WORKS AS EDITOR0
FIRST PUBLICATION YEAR1994
LATEST PUBLICATION YEAR2008
H-INDEX0
  • Le immagini e il tempo

    Open Access•Lew Andrews•ARTICLE•Renaissance Quarterly•2008

    Silvia Tomasi Velli. Le immagini e il tempo: Narrazione visiva, storia e allegoria tra Cinque e Seicento. Studi 9. Pisa: Edizioni della Normale, 2007. 344 pp. index. illus. bibl. €25. ISBN: 978–88–7642–216–4. - Volume 61 Issue 3

  • Alfred Stieglitz

    Lew Andrews•ARTICLE•History of Photography•2006

  • Style in the Art Theory of Early Modern Italy

    Open Access•Lew Andrews•ARTICLE•Renaissance Quarterly•2004

    Philip Sohm. Style in the Art Theory of Early Modern Italy. Cambridge and New York: Cambridge University Press, 2003. xii + 316 pp. + 21 b/w pls. index, append, illus. bibl. $80. ISBN: 0-521-78069-1. - Volume 57 Issue 2

  • Jacob Burckhardt, Clive Bell and the ‘Equivalents’ of Alfred Stieglitz

    Lew Andrews•ARTICLE•History of Photography•2003

    Alfred Stieglitz (1864–1946) produced his well-known cloud photograps over a period of more than a dozen years, beginning in the 1922 and continuing until nearly the end of his carrer as a photographer. Initially he gave them musical titles, first ‘Equivalent’. These pictures were first shown under that title in the ‘Seven Americans’ exhibition at the Anderson Galleries in 1925, a show that also included the work of Arthur Dove, MArsden Hartley, …

  • Ansel Adams

    Lew Andrews•ARTICLE•History of Photography•2003

    Ansel Adams has long been a popular figure, but his reputation among serious critics and historians has not kept pace with his popularity. He is often considered to be an artistic lightweight, a technical wizard whose work is as unchallenging as it is accessible. A. D. Coleman, for example, has likened his work to that of Andrew Wyeth and Norman Rockwell (A. D. Coleman, Light Readings: A Photography Critic's Writings, 1968–1978, Albuquerque: Univ…

  • Pontormo, Bronzino, and Allori

    Open Access•Lew Andrews•ARTICLE•Renaissance Quarterly•2003

    Elizabeth Pilliod. Pontormo, Bronzino, and Allori: A Genealogy of Florentine Art. New Haven and London: Yale University Press, 2001. x + 289 pp. index, illus. bibl. $55. ISBN: 0-300-08543-5. - Volume 56 Issue 2

  • Leonardo's Incessant Last Supper

    Open Access•Lew Andrews•ARTICLE•Renaissance Quarterly•2002

    An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content

  • Fine island views’

    Lew Andrews•ARTICLE•History of Photography•2001

    On the campus of the University of Hawai'i at Mānoa stands a run-down beige and brown building, with a few neo-classical adornments, called Gartley Hall, which is where the chemistty and physics classes originally were held; it is named after Alonzo Gartley, a prominent businessman who was on the school's first Board of Regents.1 Few of those who wander the halls — it now houses the psychology department — know anything of Gartley's business and …

  • Tapestries for the Courts of Federico II, Ercole, and Ferrante Gonzaga 1522-63

    Open Access•Lew Andrews•ARTICLE•Renaissance Quarterly•1998

    Clifford M. Brown and Guy Delmarcel. Tapestries for the Courts of Federico II, Ercole, and Ferrante Gonzaga 1522-63. Ed. Robert S. Nelson. (College Art Association Monograph on the Fine Arts, 52.) Seattle and London: University of Washington Press, 1996. 132 illus. + 10 pls. + 239 pp. $50. ISBN: 0-295-97513. - Volume 51 Issue 2

  • The Bronzes of Pier Jacopo Alari-Bonacolsi, Called Antico

    Open Access•Lew Andrews•ARTICLE•Renaissance Quarterly•1997

    Ann Hersey Allison. The Bronzes of Pier Jacopo Alari-Bonacolsi, Called Antico. (Jahrbuch der Kunsthistorischen Sammlungen in Wien, 89/90.) Vienna: Verlag Anton Schroll & Co., 1993-94. 2 pls. + 226 b/w illus. + ii + 272 pp. - Volume 50 Issue 2

  • Walker Evans' American Photographs

    Lew Andrews•ARTICLE•History of Photography•1994

    It is an article of faith among photographers and scholars that Walker Evans' American Photographs is a sequence of pictures rather than a simple collection or anthology; that is to say that the photographs should be looked at in the order in which they are given. Indeed the book is often spoken of as innovative and influential in precisely that respect (among others). Some years ago I set out to learn more about the origin of Evans' sequence in …

No prominent works on this page.

  • Walker Evans' American Photographs

    Lew Andrews•ARTICLE•History of Photography•1994

    It is an article of faith among photographers and scholars that Walker Evans' American Photographs is a sequence of pictures rather than a simple collection or anthology; that is to say that the photographs should be looked at in the order in which they are given. Indeed the book is often spoken of as innovative and influential in precisely that respect (among others). Some years ago I set out to learn more about the origin of Evans' sequence in …

  • The Bronzes of Pier Jacopo Alari-Bonacolsi, Called Antico

    Open Access•Lew Andrews•ARTICLE•Renaissance Quarterly•1997

    Ann Hersey Allison. The Bronzes of Pier Jacopo Alari-Bonacolsi, Called Antico. (Jahrbuch der Kunsthistorischen Sammlungen in Wien, 89/90.) Vienna: Verlag Anton Schroll & Co., 1993-94. 2 pls. + 226 b/w illus. + ii + 272 pp. - Volume 50 Issue 2

  • Tapestries for the Courts of Federico II, Ercole, and Ferrante Gonzaga 1522-63

    Open Access•Lew Andrews•ARTICLE•Renaissance Quarterly•1998

    Clifford M. Brown and Guy Delmarcel. Tapestries for the Courts of Federico II, Ercole, and Ferrante Gonzaga 1522-63. Ed. Robert S. Nelson. (College Art Association Monograph on the Fine Arts, 52.) Seattle and London: University of Washington Press, 1996. 132 illus. + 10 pls. + 239 pp. $50. ISBN: 0-295-97513. - Volume 51 Issue 2

  • Fine island views’

    Lew Andrews•ARTICLE•History of Photography•2001

    On the campus of the University of Hawai'i at Mānoa stands a run-down beige and brown building, with a few neo-classical adornments, called Gartley Hall, which is where the chemistty and physics classes originally were held; it is named after Alonzo Gartley, a prominent businessman who was on the school's first Board of Regents.1 Few of those who wander the halls — it now houses the psychology department — know anything of Gartley's business and …

  • Leonardo's Incessant Last Supper

    Open Access•Lew Andrews•ARTICLE•Renaissance Quarterly•2002

    An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content

  • Jacob Burckhardt, Clive Bell and the ‘Equivalents’ of Alfred Stieglitz

    Lew Andrews•ARTICLE•History of Photography•2003

    Alfred Stieglitz (1864–1946) produced his well-known cloud photograps over a period of more than a dozen years, beginning in the 1922 and continuing until nearly the end of his carrer as a photographer. Initially he gave them musical titles, first ‘Equivalent’. These pictures were first shown under that title in the ‘Seven Americans’ exhibition at the Anderson Galleries in 1925, a show that also included the work of Arthur Dove, MArsden Hartley, …

  • Ansel Adams

    Lew Andrews•ARTICLE•History of Photography•2003

    Ansel Adams has long been a popular figure, but his reputation among serious critics and historians has not kept pace with his popularity. He is often considered to be an artistic lightweight, a technical wizard whose work is as unchallenging as it is accessible. A. D. Coleman, for example, has likened his work to that of Andrew Wyeth and Norman Rockwell (A. D. Coleman, Light Readings: A Photography Critic's Writings, 1968–1978, Albuquerque: Univ…

  • Pontormo, Bronzino, and Allori

    Open Access•Lew Andrews•ARTICLE•Renaissance Quarterly•2003

    Elizabeth Pilliod. Pontormo, Bronzino, and Allori: A Genealogy of Florentine Art. New Haven and London: Yale University Press, 2001. x + 289 pp. index, illus. bibl. $55. ISBN: 0-300-08543-5. - Volume 56 Issue 2

  • Style in the Art Theory of Early Modern Italy

    Open Access•Lew Andrews•ARTICLE•Renaissance Quarterly•2004

    Philip Sohm. Style in the Art Theory of Early Modern Italy. Cambridge and New York: Cambridge University Press, 2003. xii + 316 pp. + 21 b/w pls. index, append, illus. bibl. $80. ISBN: 0-521-78069-1. - Volume 57 Issue 2

  • Alfred Stieglitz

    Lew Andrews•ARTICLE•History of Photography•2006

  • Le immagini e il tempo

    Open Access•Lew Andrews•ARTICLE•Renaissance Quarterly•2008

    Silvia Tomasi Velli. Le immagini e il tempo: Narrazione visiva, storia e allegoria tra Cinque e Seicento. Studi 9. Pisa: Edizioni della Normale, 2007. 344 pp. index. illus. bibl. €25. ISBN: 978–88–7642–216–4. - Volume 61 Issue 3

Art (10 works) · Art history (8 works) · Visual arts (6 works) · History (5 works) · Archaeology (3 works) · Historical Art and Architecture Studies (3 works) · Mathematics (3 works) · Photography (3 works) · Photography and Visual Culture (3 works) · Computer Science (2 works)

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