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McCue, Maureen Clare. "British Romanticism and Italian Renaissance art." Thesis, University of Glasgow, 2011. http://theses.gla.ac.uk/2680/.
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This study examines British Romantic responses to Italian Renaissance art and argues that Italian art was a key force in shaping Romantic-period culture and aesthetic thought. Italian Renaissance art, which was at once familiar and unknown, provided an avenue through which Romantic writers could explore a wide range of issues. Napoleon’s looting of Italy made this art central to contemporary politics, but it also provided the British with their first real chance to own Italian Old Master art. The period’s interest in biography and genius led to the development of an aesthetic vocabulary that might be applied equally to literature and visual art. Chapter One discusses the place of Italian art in Post-Waterloo Britain and how the influx of Old Master art impacted on Britain’s exhibition and print culture. While Italian art was appropriated as a symbol of British national prestige, Catholic iconography could be difficult to reconcile with Protestant taste. Furthermore, Old Master art challenged both eighteenth-century aesthetic philosophy and the Royal Academy’s standing, while simultaneously creating opportunities for new viewers and new patrons to participate in the cultural discourse. Chapter Two builds on these ideas by exploring the idea of connoisseurship in the period. As art became increasingly democratized, a cacophony of voices competed to claim aesthetic authority. While the chapter examines a range of competing discourses, it culminates in a discussion of what I have termed the ‘Poetic Connoisseur’. Through a discussion of the work of Lord Byron, Percy Shelley and William Hazlitt, I argue that Romantic writers created an exclusive aristocracy of taste which demanded that the viewer be able to read the ‘poetry of painting’. Chapter Three focuses on the ways in which Romantic writers used art to produce literature rather than criticism. In this chapter, I argue that writers such as Byron, Shelley, Lady Morgan, Anna Jameson and Madame de Staël, created an imaginative vocabulary which lent itself equally to literature and visual art. Chapter Four uses Samuel Rogers’s Italy as a case study. It traces how the themes discussed in the previous chapters shaped the production of one of the nineteenth century’s most popular illustrated books, how British art began to appropriate Italian subjects and how deeply intertwined visual and literary culture were in the period. Finally, this discussion of Italy demonstrates how Romantic values were passed to a Victorian readership. Through an appreciation of how the Romantics understood Italian Renaissance art we can better understand their experience and understanding of Italy, British and European visual culture and the Imagination.
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Kline, Jonathan Dunlap. "Christian Mysteries in the Italian Renaissance: Typology and Syncretism in the Art of the Italian Renaissance." Diss., Temple University Libraries, 2008. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/4976.
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Art HistoryPh.D.;
My dissertation studies the typological juxtaposition and syncretic incorporation of classical and Christian elements-subjects, motifs, and forms-in the art of the Italian Renaissance and the significant meaning of classical subjects and figures in such contexts. In this study, I analyze the interpretative modes applied to extra-Biblical and secular literature in the Italian Tre- and Quattrocento and the syncretic philosophies of the later Quattro- and early Cinquecento and reevaluate selected works of art from the Italian Renaissance in light of the period claims and beliefs that are evident from such a study. In summary, my dissertation considers the use of classical subjects, motifs, and forms in the art of the Italian Renaissance as a means to gloss or reveal aspects of Christian doctrine. In chapter 1, I respond to the paradigm proposed by Erwin Panofsky (Renaissance and Renascences) and establish a new criteria for understanding the difference between medieval and Renaissance perceptions of classical antiquity. Chapter 2 includes a study of the mythological scenes painted in the Cappella Nova of Orvieto Cathedral, which are here shown to gloss and reveal aspects of the developing Christian doctrine of Purgatory. In chapter 3, I study the Renaissance use of representational ambiguity as a means of signifying the propriety of pursuing an allegorical interpretation of a work and specifically address the typological significance of figures in Botticelli's Primavera. In chapter 4, I examine the philosophical concepts of prisci theologii and theologicae poetae and their significance in relation to the representation of classical figures in medieval and Renaissance works of art. This study provides the necessary background for a reevaluation of syncretic themes in Raphael's Stanza della Segnatura, which is the subject of the final chapter. In chapter 5, I identify classical figures in the frescoes of the Stanza della Segnatura-among them, Orpheus in the Parnassus and Plato and Aristotle in the Disputa-and offer a new interpretation of the iconographic program of the Stanza della Segnatura frescoes as a representation of the means by which participants in the Christian tradition, broadly conceived, approach God through the parallel paths of dialectic and moral philosophy.
Temple University--Theses
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Tobey, Elizabeth MacKenzie. "The palio in Italian Renaissance art, thought, and culture." College Park, Md. : University of Maryland, 2005. http://hdl.handle.net/1903/2458.
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Thesis (Ph. D.) -- University of Maryland, College Park, 2005.Thesis research directed by: Art History and Archaeology. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
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Rogers, Mark Christopher. "Art and public festival in Renaissance Florence studies in relationships /." Full text available online (restricted access), 1996. http://images.lib.monash.edu.au/ts/theses/Rogers.pdf.
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Macneil, Georgina Sybella. "Giovannino Battista: the boy Baptist in quattrocento Italian art." Thesis, The University of Sydney, 2013. http://hdl.handle.net/2123/10299.
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This thesis explores the imagery of the young John the Baptist in Renaissance art. The phenomenon of John’s juvenescence has been noted but insufficiently explored by previous scholarship. The present study reassesses the figure of the youthful Baptist by means of rigorous theological exegesis of biblical, apocryphal and late medieval textual sources and a thorough investigation of the visual corpus. Beginning with the mosaics of the Florentine Baptistery, a handful of narrative cycles locate the onset of John’s prophetic career in the desert at an ever-earlier point in his life. However, it was not until the mid-fifteenth century that the boy John was released from the confines of his own narrative to become an independent figure in devotional imagery. Innovative altarpieces by Filippo Lippi commissioned by the Medici family in the late 1450s and 60s are shown to be crucial in promoting and disseminating this new vision of Florence’s beloved patron saint. The thesis demonstrates the enormous popularity of the youthful Baptist in the following decades, first in Florence and subsequently elsewhere in Italy, and interrogates the significance of his presence as infant, boy and adolescent across a wide range of pictorial and sculptural representations. One of the most famous examples of the child John, Leonardo da Vinci’s “Virgin of the Rocks”, is recontextualised within this existing pictorial current, to show that this masterpiece is at once more traditional and more innovative in its treatment of subject matter than has hitherto been recognised. Key narrative moments, such as a meeting between Christ and John, and new ways of visualising the intimate bond between the two children formulated towards the end of the fifteenth century, including physical embraces and shared exposure of vulnerable infant flesh, are also investigated. Through such investigations, the thesis aims to advance understanding of the multiple and intersecting roles played by the boy Baptist in Renaissance art and devotion.
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Zaho, Margaret Ann. "Imago triumphalis : the function and significance of triumphal imagery for Italian Renaissance rulers /." Thesis, Connect to this title online; UW restricted, 2000. http://hdl.handle.net/1773/6242.
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Ellison, Melinda Jane. "Images of venus in epithalamic art of the Italian Renaissance, 1460-1540." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ42234.pdf.
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Hayden, Margaret. "The Medici Example: How Power Creates Art and Art Creates Power." Digital Commons @ East Tennessee State University, 2021. https://dc.etsu.edu/etd/3917.
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This project looks at two members of Florence’s Medici family, Cosimo il Vecchio (1389-1464) and Duke Cosimo I (1519-1574), in an attempt to assess how they used the patronage of art to facilitate their rule. By looking at their individual political representations through art, the specifics of their propagandist works and what form these pieces of art came, it is possible to analyze their respective rules. This analysis allows for a clearer understanding of how these two men, each in very different positions, found art as an ally for their political endeavors. While they were in power only one hundred years apart, they present uniquely different strategies for the purpose of creating and maintaining their power through the patronage of art.
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Norris, Rebecca M. "Carpaccio's Hunting on the lagoon, and Two Venetian ladies a vignette of fifteenth-century Venetian life /." [Kent, Ohio] : Kent State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=kent1185214455.
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Thesis (M.A.)--Kent State University, 2007.Title from PDF t.p. (viewed November 14, 2007). Advisor: Gustav Medicus. Keywords: Carpaccio; Vittore Carpaccio; Hunting on the Lagoon; Two Venetian Ladies; Social Studies, Venice; Renaissance, Venice; Material Culture, Venice; Gender Studies, Venice; Furniture, Venice; Domestic, Venice; Women's Fashion, Venice; Letter Rack; Venetian Soceity. Includes bibliographical references (p. 71-75).
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Rachele, Cara Paul. "Building Through the Paper: Disegno and the Architectural Copybook in the Italian Renaissance." Thesis, Harvard University, 2015. http://nrs.harvard.edu/urn-3:HUL.InstRepos:17467183.
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The dissertation looks at architectural theory in early modern Italy through a history of its drawings. It examines a group of early-sixteenth-century drawing books, made in and around Rome, that comprised reproductive drawings based on circulating drawing exemplars from the late fifteenth century. The drawing books are identified as study tools made by artisans who aspired to the practice of architecture. The study illuminates the broader shift toward drawing as the primary means of architectural design.
The first chapter contends that the distinctive drawing practices of architecture arose from the merging of the representational traditions of figural and mechanical drawing, identifying this progression in architectural texts by Cennino Cennini, Leon Battista Alberti, Filarete, Francesco di Giorgio Martini, Leonardo, and Raphael. The next chapter reconsiders the “treatise-books” of the 1510s-1530s as copybooks for architectural draftsmen, analogous to the commonplace books created by humanist scholars, using the Codex Coner (Soane’s Museum, London) as a case study. Chapter 3 looks at the widespread phenomenon of drawing and copying architectural details and tracks its development from detail drawing series made in the fifteenth century to the precisely measured images of the early sixteenth century. The case study is the Codex Fogg (Harvard Art Museums, Cambridge). Chapter 4 traces the empirical development of orthographic section drawing as an established component of the drawing palette of the architectural draftsman, taking the Codex Mellon (Pierpont Morgan Library, New York) as an example. Chapter 5 investigates the circumstances that influenced the end of the architectural copybook phenomenon in the late 1530s-40s. Two examples demonstrate the transition, the Codex Lille by Raffaello da Montelupo (Musée des Beaux-Arts, Lille) and the Codex Campori App. 1755 of Giovanni Antonio Dosio (Biblioteca Estense, Modena).History of Art and Architecture
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El-Hanany, Efrat. "Beating the devil : images of the Madonna del Soccorso in Italian Renaissance art /." [Bloomington, Ind.] : Indiana University, 2006. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3230546.
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Hudson, Hugh. "Paolo Uccello : the life and work of an Italian Renaissance artist /." Connect to thesis, 2005. http://eprints.unimelb.edu.au/archive/00002997.
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Wolken, Christine Chiorian. "Beauty, Power, Propaganda, and Celebration: Profiling Women in Sixteenth-Century Italian Commemorative Medals." Case Western Reserve University School of Graduate Studies / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=case1339555478.
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Thomas, Jenna Caye. "Visions of the East: Influence of the Levant on the Italian Renaissance." Kent State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=kent1448533555.
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O'Malley, Michelle Marie. "The business of art : contracts and payment documents for fourteenth- and fifteenth-century Italian alterpieces and frescos." Thesis, University of London, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.308732.
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Fermor, Sharon Elizabeth. "Studies in the Depiction of the Moving Figure in Italian Renaissance Art, Art Criticism and Dance Theory." Thesis, University of London, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.492194.
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Stowell, Steven. "The mystical experience of art : Medieval Christian themes in the literature on art of the Italian Renaissance." Thesis, University of Oxford, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.517020.
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Taylor, Chloë. "The aesthetics of sadism and masochism in Italian renaissance painting /." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79810.
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This thesis analyses selected paintings and aspects of life of the Italian Renaissance in terms of the aesthetic properties of sadistic and masochistic symptomatologies and creative production, as these have been explored by philosophers such as Michel Foucault, Roland Barthes, Marcel Henaff, and Gilles Deleuze. One question which arises from this analysis, and is considered in this thesis, is of the relation between sexual perversion and history, and in particular between experiences of violence, (dis)pleasure and desire, and historically specific forms of discourse and power, such as legislation on rape; myths and practices concerning marriage alliance; the depiction of such myths and practices in art; religion; and family structures. A second question which this thesis explores is the manners in which sadistic and masochistic artistic production function politically, to bolster pre-existing gender ideologies or to subvert them. Finally, this thesis considers the relation between sadism and masochism and visuality, both by bringing literary models of perversion to an interpretation of paintings, and by exploring the amenability of different genres of visual art to sadism and masochism respectively.
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Ruvoldt, Maria. "The Italian Renaissance imagery of inspiration : metaphors of sex, sleep, and dream /." Cambridge : Cambridge University Press, 2004. http://catalogue.bnf.fr/ark:/12148/cb39938823k.
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Ashton, Anne M. "Interpreting breast iconography in Italian art, 1250-1600." Thesis, University of St Andrews, 2006. http://hdl.handle.net/10023/2675.
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The motif of the uncovered female breast is ubiquitous in art of all ages and cultures. Modern analysis of breast imagery tends to be biased by the sexual significance that breasts have now. However in Italian renaissance art the exposed breast appears in many different manifestations. The purpose of this thesis is to explore several specific types of breast iconography. The first chapter will examine images of Maria lactans, and consider the religious, cultural and psychological meaning held within the image and the social changes which were to lead to its loss of popularity. Chapter Two will consider the appearance of secular images of breastfeeding, particularly in the city-states of north Italy in the early Renaissance, and examine possible sociological reasons for the political use of the depiction of breast feeding. Other associated breast iconography will also be considered. Chapter Three will focus on images of the tortured breast, particularly depictions of St. Agatha suffering the removal of her breasts during martyrdom. Both the sacred and sado-sexual elements of such images will be examined. The fourth chapter will look at images of Lucretia. It will be examined why in so many cases artists chose to depict her with her breasts exposed (in contradiction to ancient sources) and with the dagger actually pointing at or embedded in her breast. It will be argued that the breast was used in art as external symbol of the female heart. The final chapter of the thesis will focus on paintings Cleopatra. Again, there is an even more marked contradiction to ancient sources when Cleopatra is depicted dying by a snakebite to the breast. A full-circle will be achieved in the contrast of paintings of Mary suckling Christ with images of Cleopatra apparently breastfeeding a snake.
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郁, 小松原, and Aya Komatsubara. "マントヴァ侯ルドヴィーコ・ゴンザーガ治世期における君主の顕彰図像と信仰 : マンテーニャ作品再解釈に基づく15世紀マントヴァ宮廷美術考." Thesis, https://doors.doshisha.ac.jp/opac/opac_link/bibid/BB13044927/?lang=0, 2017. https://doors.doshisha.ac.jp/opac/opac_link/bibid/BB13044927/?lang=0.
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Cardarelli, Sandra. "Siena and its contado : art, iconography and patronage in the diocese of Grosseto from c.1380 to c.1480." Thesis, University of Aberdeen, 2011. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=167749.
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This study examines the artistic output in the diocese of Grosseto, which was part of Sienese controlled territories in Medieval and Renaissance times, and sheds light on the artists who worked there, the works that they produced, the purpose of these works and the way that these were shaped by local patrons, popular beliefs and long- standing traditions. It encompasses a period in the history of Siena that starts in c. 1380 with the political turmoil that followed the fall of the government of the Nine in 1355, and ends in c. 1480, around the time of Pandolfo Petrucci’s exile from the city. A contextualized overview of the activity of artists from Siena and beyond, such as Matteo di Giovanni, Sassetta, Vecchietta Francesco di Giorgio, Giovanni da Ponte and Andrea Guardi in the diocese of Grosseto is provided by means of visual examination and new documentary evidence. Relevant case studies offer a new perspective on the development of local visual imagery, the style and iconography of panel paintings, sculptures and fresco cycles and how these related to local devotional practices and patronage. The study shows that the development of independent taste in commissioning and acquiring artworks transcended geographical boundaries and political influence, and that original developments took place alongside the imitation of imported models. This research contributes to a new understanding of the relationship between Siena and Grosseto and proposes that notwithstanding Sienese influence, other cultural models were available, and that these were adapted to suit local requirements. A thorough investigation of local patronage establishes that this involved civic, religious and lay sources and that these shaped civic rituals and devotional responses to the cult of patron saints. It brings to light a vivid, yet complex image whereby all the realms of society interacted and benefitted from cultural exchange.
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Webster, Andrew. "The Embedded Self-Portrait in Italian Sacred Art of the Cinquecento and Early Seicento." Thesis, University of Oregon, 2013. http://hdl.handle.net/1794/13006.
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Cases of Italian embedded self-portraiture appear in the sacred art of some of the most renowned artists of the Cinquecento and early Seicento, artists such as Bronzino, Michelangelo, Titian, Tintoretto, and Caravaggio. This thesis first examines the history of the practice from its origins in Quattrocento Florence and Venice then argues that an important development in the function and presentation of embedded self-portraits can be observed as Cinquecento artists experienced broad shifts in religious and cultural life as a result of the Reformation and Counter-Reformation. It also assesses three works by Caravaggio to suggest that embedding self-portraits in religious art was a variable and meaningful convention that allowed artists to inject both their personal and public emotions. This thesis argues that in the Cinquecento and early Seicento, the very gesture of embedding a self-portrait in sacred artworks provided a window into an artist's individuality, personality, and piety.
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Pellé, Anne-Sophie. "Aemulatio Italorum, la réception des estampes de Mantegna par Dürer et ses contemporains germaniques : la gravure comme agent d'émulation culturelle à la Renaissance." Thesis, Tours, 2016. http://www.theses.fr/2016TOUR2006.
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Au début du XVIè siècle, le territoire germanique apparaît comme le foyer de réception non seulement le plus important mais aussi le plus fécond des estampes du peintre italien Andrea Mantegna (1431-1506). De Dürer à Peter Vischer à Nuremberg, de l’atelier d’Ulrich Apt à celui de Jörg Breu l’Ancien à Augsbourg, d’Hans Baldung Grien à Matthias Grünewald dans les régions rhénanes, d’Urs Graf à Jörg Schweiger en Suisse, de l’atelier d’Altdorfer implanté à Ratisbonne à celui de Wolf Huber situé à Passau : tous les centres artistiques et humanistes du monde germanophone sont concernés. Inscrite dans la problématique des transferts culturels, cette thèse vise à montrer, par une approche résolument pluridisciplinaire, que la réception des modèles gravés italiens en Allemagne ne se borne pas aux emprunts formels et stylistiques, mais s’intègre dans une réflexion sur l’émulation, qui tient compte des spécificités à la fois historiques et culturelles du Saint Empire Romain germaniqueDuring the early 16th century the German territory was not only the most important but also the most fruitful center for the circulation of Italian painter Andrea Mantegna's (1431 - 1506) prints. From Dürer to Peter Vischer in Nuremberg, from Ulrich Apt's workshop to Jörg Breu the Elder in Augsbourg, from Hans Baldung Grien to Matthias Grünewald in Alsace, from Urs Graf to Jörg Schweiger in Switzerland, Altdorfer's workshop, located in Regensburg to Wolf Huber's in Passau. Basically all artistic and humanist centers in the German-speaking world were concerned. This thesis takes as its primary object the problematic of cultural transfers and aims at showing, through a multidisciplinary approach, that the German reception of Italian engravings is not only limited to formal and stylistics aspects but it is integrated in a reflection regarding the emulation, which will take into account both historical and cultural particularities of the German Sacred Roman Empire
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Haughton, Ann. "Mythology and masculinity : a study of gender, sexuality and identity in the art of the Italian Renaissance." Thesis, University of Warwick, 2014. http://wrap.warwick.ac.uk/68267/.
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The concerns of this thesis are aligned with approaches to the historical study of sexuality, gender and identity in art, society and culture which are increasingly articulate and questioning at present. However, it is distinct from these recent studies because it redirects attention toward a stimulating encounter with the past through new theoretical proposals and interpretive perspectives on the manner in which mythology asserts itself as the vehicle for expressing male same-sex erotic behaviour, gender performance and masculine identity in the visual culture of the Italian Renaissance. By following a methodological, historiographical and interdisciplinary mode of enquiry, this thesis formulates and expresses new perspectives which engage with the representation of masculine concerns relating to these historically specific matters in the visual domain of the period. Conventional historical definitions of traditional art historical models of masculinity are also called into question through reassessment of how the function of the ideal male nude body in Renaissance art was shaped by particular social and historical contexts in different regions of Italy during the sixteenth century. These interrelated themes are approached in three stages. Firstly, there is interpretation of the complex and convoluted meanings within the narrative of the mythic sources, as well as decoding and contextualising of the symbolic messages of the images in question. Secondly, I assemble and examine the textual evidence that exists about erotic and social relationships between males in the Renaissance so that their historical significance can be tracked and placed in the context of the tension which existed between Renaissance Italian judicial and religious proscription and commonplace behaviour. And thirdly, I offer comprehensive analyses and interpretive frameworks which are informed by and based upon a wide range of written as well as visual sources together with evaluation of competing theoretical perceptions. The main arguments are presented in three chapters: The central theme of Chapter One is gender performance with specific focus upon the integral and didactic role of pederasty in visual representations of myths which conflate erotic desire between males and philosophical allegory. The historical phenomenon of pederastic relationships between males is addressed through interrogation of the pictorial vocabulary of Benvenuto Cellini’s marble Apollo and Hyacinth (1545), and Giulio Romano’s drawing of Apollo and Cyparissus (1524).The arguments and theories discussed and analysed in Chapter Two deal with Michelangelo’s depiction of Ovidian mythic narratives. Here, close attention is paid to the intricate nuances and sophisticated iconography used by Michelangelo for three highly finished presentation drawings - The Rape of Ganymede (1532), The Punishment of Tityus (1532) and The Fall of Phaeton (1533) - which Michelangelo presented to Tommaso De’ Cavalieri. The chapter aims to encourage a re-evaluation of these three drawings as a meaningful and connected narrative endowed with significant cultural and personal significance relating to their creator’s anguish about physical desire and its relationship to what modernity terms as ‘sexuality’. In Chapter Three, I consider how several works featuring the theme of Apollo flaying Marsyas can be read as articulations of the imaginative and ideological structures of the formation and preservation of masculine identities. The chapter addresses the iconographic visibility of the theme of flaying and explores the philosophical and literary metaphoric significance of this myth. Primacy is given to destabilising dominant conceptualizations of the heroic male nude as a subject in art throughout all these selected case studies. Centred as they are on sexual attraction or destruction rather than idealisation of the male figure, these chapters offer a revaluation of ways of seeing the archetypal heroic nude in a myriad of ways.
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Lindsey, Renee J. "The Truth of Night in the Italian Baroque." UKnowledge, 2015. http://uknowledge.uky.edu/art_etds/10.
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In the sixteenth century, the nocturne genre developed in Italian art introducing the idea of a scene depicted in the darkness of night. This concept of darkness paired with intense light was adopted by Caravaggio in the late sixteenth century and popularized by himself and his followers. The seemingly sudden shift towards darkness and night is puzzling when viewed as individual occurrences in artists’ works. As an entire genre, the night scene bears cultural implications that indicate the level of influence culture and society have over artists and patrons. The rising popularity of the theater and the tension between Protestantism and Catholicism intersected to create a changing view on the perception of darkness and light. This merging of cultural phenomena affected Caravaggio and his contemporaries, prompting them to develop the nocturne genre to meet the growing demands for darker images.
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Burzlaff, Mary Caroline. "Chaste sexual warrior, civic heroine, and femme fatale three views of Judith in Italian renaissance and baroque art /." Cincinnati, Ohio : University of Cincinnati, 2006. http://www.ohiolink.edu/etd/view.cgi?acc%5Fnum=ucin1147989193.
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Thesis (M.A.)--University of Cincinnati, 2006.Title from electronic thesis title page (viewed July 24, 2006). Includes abstract. Keywords: Judith; Holofernes; Italian; Renaissance; Baroque; Michelangelo; Donatello; Botticelli; Giovanni della Robbia; Giorgione; Palma Vecchio; Artemisia Gentileschi; Allori; Apocrypha. Includes bibliographical references.
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BURZLAFF, MARY CAROLINE. "CHASTE SEXUAL WARRIOR, CIVIC HEROINE, AND FEMME FATALE: THREE VIEWS OF JUDITH IN ITALIAN RENAISSANCE AND BAROQUE ART." University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1147989193.
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Hansbauer, Severin. "Das Oberitalienische Familienporträt in der Kunst der Renaissance : studien zu den Anfängen, zur Verbreitung und Bedeutung einer Bildnisgattung /." Würzburg : S.J. Hansbauer, 2004. http://www.loc.gov/catdir/toc/fy0708/2006485141.html.
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Wehmeier, Jennifer ML. "Constructing a pantheon of allies princely portraits and all'antica palace decorations in Renaissance Italy during the reign of Holy Roman Emperor Charles V /." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1610113721&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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Bryan, Katie Jane. "A reassessment of Donatello's and Titian's Penitent Magdalens and the perspectives they offer on women and religion in Italian Renaissance art and society." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2009. http://hub.hku.hk/bib/B45143626.
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Martone, Thomas. "The theme of the conversion of Paul in Italian paintings from the early Christian period to the high Renaissance." New York : Garland Pub, 1985. http://catalog.hathitrust.org/api/volumes/oclc/11970051.html.
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Carvalho, Larissa Sousa de 1988. "De gli habiti antichi, et moderni di diuersi parti del Mondo (1590) de Cesare Vecellio : tradução parcial e ensaio crítico." [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/278841.
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Orientador: Luiz Cesar Marques FilhoDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas
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Resumo: A pesquisa apresenta como principal objeto de análise a obra De gli habiti antichi, et moderni di diuerse parti del mondo (1590), do italiano Cesare Vecellio (c.1521-1601). Uma segunda edição foi publicada sob o título Habiti antichi et moderni di tutto il mondo em 1598. Essa apresenta um projeto diverso da primeira, tendo seu conteúdo iconográfico ampliado, ao contrário dos comentários do autor, omitidos ou simplesmente reduzidos. O surgimento deste gênero de publicação, os chamados "livros de vestuário", ocorreram durante o século XVI, juntamente ao interesse cartográfico e enciclopédico. A época do autor presenciou a rápida expansão da imprensa em Veneza, dos studioli, os cabinets de curiosité e os Wunderkämmern, além de acompanhar a criação de uma rede interligada de publicações que firmavam um repertório de "tipos sociais" repetidos ao longo desses anos e que auxiliava na visão que, sobretudo os venezianos, tinham do restante do mundo. O teor da obra, grosso modo, permeia os costumes - em um sentido bastante amplo - aliados à representação de uma série de trajes. Vecellio não apenas representa a vestimenta europeia, como também inclui exemplares asiáticos, africanos e americanos. Essa antologia do vestuário mundial também é considera por alguns autores como a primeira história moderna do vestuário, já que são concebidas imagens comentadas de povos da Antiguidade até o século do autor, em um amplo espectro geográfico. No presente trabalho intenta-se perceber, portanto, o projeto da obra vecelliana. A partir de três ensaios discutiremos a respeito da ruína de valores antigos e da mutação (a veste aliada ao mito veneziano, a questão da boa governança e prosperidade das cidades, a relação entre antigo e moderno etc.); em seguida, problematizaremos a postura de Veneza ao projetar uma imagem positiva da cidade em meio a um contexto conturbado, bem como o modo vecelliano de dialogar com essa questão mediante a apresentação de "tipos sociais" (doge, virgem veneziana, cortesã...) associados à auto-imagem do Estado; e, por fim, apresentamos um panorama de sua obra, cujo objetivo será compreender a postura e o discurso de nosso autor frente à alteridade, discutindo, assim, algumas noções e a problemática do "Eu" que se define a partir do "Outro". Em correlato, propõe-se a tradução parcial do conteúdo da obra para uma versão portuguesa (inédita e comentada), no intuito de contribuir para as discussões teóricas - ínfimas em nossa realidade brasileira -, sem abandonar, entretanto, o escopo aqui descrito
Abstract: This research presents as main object of analysis the book De gli habiti antichi, et moderni di diuerse parti del mondo (1590), by the Italian author Cesare Vecellio (c.1521-1601). A second edition was published with the title Habiti antichi et moderni di tutto il mondo in 1598. This edition presents a project different from the first one. Its iconographic content is expanded, whereas the author's comments are either reduced or even omitted. The emergence of this type of publication, called costume books, occurred during the Sixteenth Century, along with the cartographic and encyclopedic interest. The period in which the author lived, witnessed the rapid expansion of the printing press in Venice, as well as of the studioli, the cabinets de curiosité and Wunderkammern. Apart from that, those years followed the creation of an interconnected network of publications that established a repertoire of "social types", repeated throughout the years, and helped in the idea that, especially the Venetians, had about the rest of the world. The content of the work covers the habits - in a very broad sense - combined with the representation of a variety of costumes. Vecellio does not only represent European clothing, but he also includes Asian, African and American costumes. This anthology of world clothing is also considered, by some authors, as the first modern history of costume, since it covers commented images from Antiquity until the time of the author, in a broad geographical spectrum. In this text we aim to understand the project of the Vecellian work. Starting with three essays of the current study, we will discuss the ruin of the old values and the mutation (clothing associated with the Venetian myth, the issue of good governance and prosperity of cities, the relationship between ancient and modern etc.); then we will problematize the posture of Venice, which projects a positive image of the city within a turbulent context, as well as the Vecellian way of discussing this subject while presenting the "social types" (doge, Venetian virgin, courtesan...), associated with the State's self-image; finally, we will present an overview of his work, whose purpose will be to understand the author's posture and the discourse towards otherness, discussing some problematic notions of the "I", which is defined from the confrontation with the "Other". Furthermore, together with this, we propose a partial translation of the content of the book into a Portuguese version (unpublished and commented), with the intention of contributing to the theoretical debate - very restricted in our Brazilian reality -, without abandoning, however, the scope described herein
Mestrado
Historia da Arte
Mestra em História
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Henning, Andreas Raffael. "Raffaels Transfiguration und der Wettstreit um die Farbe : koloritgeschichtliche Untersuchung zur römischen Hochrenaissance /." München [u.a.] : Dt. Kunstverl, 2005. http://www.loc.gov/catdir/toc/fy0704/2005433111.html.
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Allison, Jessica Lynn. "Sensing Death: Italian Renaissance Comforting Rituals and their Visual and Aural Impact on the Condemned Criminals' Spiritual Redemption." Bowling Green State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1510864027854912.
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Nelson, Caroline. ""By the Hand of a Woman": Gender, Luxury, and International Relations in Andrea Mantegna's Judith and Holofernes." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/863.
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Dilbeck, Gwynne Ann. "Opening the gates of paradise: function and the iconographical program of Ghiberti's bronze door." Diss., University of Iowa, 2011. https://ir.uiowa.edu/etd/2691.
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Lorenzo Ghiberti's east door of the Baptistery of San Giovanni in Florence, long famed as the Gates of Paradise, displays Old Testament stories in sculptural relief on ten gilded bronze panels. Stressing the significance of the Gates of Paradise as a public monument imbedded in the fabric of Florentine society will enhance our understanding of the cultural use of the door within its built environment. Consideration of its context could in turn clarify the motivation behind the choices for the iconographical program. Previous studies of the Gates of Paradise tend to isolate each narrative panel rather than examining the Gates as one door made up of ten unified panels (including decorative framing). As a result, the Gates of Paradise have rarely been looked at in terms of architectural function or context. The approach of the present study focuses on the Gates of Paradise as a significant architectural feature of Florence's built environment, as a feature that functioned as a centerpiece for the Baptistery and the Cathedral complex, and as a setting for the many spectacles that took place in that environment.
This investigation aims to define the inseparable religious and civic functioning of the Gates of Paradise and to identify connections between specific function and the iconographical program. The research examines in depth the imagery of the Gates of Paradise, scrutinizing the function of the Gates within its physical setting, in the ceremonies of baptism, and in the regular rituals of the Florentine liturgical calendar. This hitherto-unexamined analysis of the Florentine liturgical ritual utilizes Medieval and Renaissance service books such as the Ritus in ecclesia servandi, Mores et consuetudines canonice florentine, Missal Ms. Edili 107 (Biblioteca Medicea Laurenziana), and the Missale romanum Mediolani, 1474. The examination of the Gates' function offers illumination of the possible meaning(s) conveyed by the choice of biblical narratives that make up the program. Research suggests that the iconographical program for the Gates of Paradise connects predominantly to its major function as the principal ritual entrance for the Baptistery. The program reiterates the liturgy for the season leading up to the Church's traditional celebratory period of baptism and the baptismal liturgy. While most days throughout the year the south portal was used for the daily baptismal ceremony, this special baptism-related use of the Gates reinforce the liturgy of the season which teaches and emphasizes the significance of the sacrament of baptism and the role of the Church in salvation.
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Tycz, Katherine Marie. "Material prayers : the use of text in early modern Italian domestic devotions." Thesis, University of Cambridge, 2018. https://www.repository.cam.ac.uk/handle/1810/276240.
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While scholarship often focuses on how early modern Italians used images in their devotions, particularly in the post-Tridentine era, little attention has been placed upon how laypeople engaged with devotional text during times of prayer and in their everyday lives. Studies of early modern devotional texts have explored their literary content, investigated their censorship by the Church, or concentrated upon an elite readership. This thesis, instead, investigates how ordinary devotees interacted with holy words in their material form, which I have termed ‘material prayers’. Since this thesis developed under the aegis of the interdisciplinary research project, Domestic Devotions: The Place of Piety in the Italian Renaissance Home, 1400-1600, it focuses primarily on engagement with these material prayers in domestic spaces. Using an interdisciplinary approach drawing from material culture studies, literary history, social and cultural history, and art history, it brings together objects, images and archival sources to illuminate how devotees from across the socio-economic and literacy spectrums accessed and employed devotional text in their prayers and daily life. From holy words, Biblical excerpts, and prayers to textual symbols like the Sacred Monogram of the Name of Jesus, this thesis explores how and why these material prayers were employed for spiritual, apotropaic and intercessory purposes. It analyses material prayers not only in traditional textual formats (printed books and manuscripts), but also those that were printed on single-sheets of paper, inscribed on jewellery, or etched into the structure of the home. To convey how devotees engaged with and relied upon these material prayers, it considers a variety of inscribed objects, including those sanctioned by the Church as well as those which might be questioned or deemed ‘superstitious’ by ecclesiastical authorities. Sermons, Inquisition trial records, and other archival documents have been consulted to further illuminate the material evidence. The first part of the thesis, ‘On the Body’, considers the how devotees came into personal contact with texts by wearing prayers on their bodies. It examines a range of objects including prayers with protective properties, known as brevi, that were meant to be sealed in a pouch and worn around the neck, and more luxurious items of physical adornment inscribed with devotional and apotropaic text, such as necklaces and rings. The second part of the thesis enters the home to explore how the spaces people inhabited and the objects that populated their homes were decorated with material prayers. ‘In the Home’ begins with texts inscribed over the entryways of early modern Italian homes, and then considers how devotees decorated their walls with holy words and how the objects of devotion and household life were imbued with religious significance through the addition of pious inscriptions. By analysing these personal objects and the textual domestic sphere, this thesis argues that these material prayers cut across socio-economic classes, genders, and ages to embody quotidian moments of domestic devotion as well as moments of fear, anxiety and change.
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Seaman, Leah M. "The depiction of female emotion as seen through the work of Italian Renaissance artists Artemisia Gentileschi and Michelangelo Caravaggios Judith Beheading Holofernes and Artemisia Gentileschi and Cavaliere dArpinos Susanna and the Elders." Marietta College Honors Theses / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=marhonors161944857779248.
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Targia, Giovanna. "Aby Warburg, Einführung in die Kultur der italienischen Frührenaissance : Vorträge (1908-1909) : edizione critica." Doctoral thesis, Scuola Normale Superiore, 2009. http://hdl.handle.net/11384/85749.
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Molina, Elizabeth Anne. "A Historiography and Reevaluation of the Herbert P. Horne Foundation." Doctoral thesis, Scuola Normale Superiore, 2018. http://hdl.handle.net/11384/85780.
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Misery, Nicolas. "Art, culture et société à Parme pendant la première moitié du Cinquecento : les portraits d'homme de Parmigianino (1503 -1540)." Thesis, Lyon 2, 2015. http://www.theses.fr/2015LYO20104.
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La thèse est consacrée à l’œuvre de portraitiste de Parmigianino au cours des deux périodes parmesanes de sa carrière, depuis sa naissance en 1503 jusqu’à son départ pour Rome en 1524, puis de 1531 à 1540, date de son décès. L’objet de la recherche est d’élucider les significations propres à chacune des effigies du corpus et d’analyser les processus plastiques et sémantiques par lesquels le peintre a élaboré les discours figuratifs que constituent ses portraits, dans le contexte de leur commande, production et réception. A cette fin, on a opté pour une approche pluridisciplinaire. La thèse débute par une étude de l’histoire artistique de Parme de 1500 à 1540 et une analyse des pratiques du portrait dans cette ville, au regard de ses nombreuses relations avec d’autres centres culturels et artistiques (Milan, Venise, Bologne, Florence et Rome). L’histoire sociale et politique de Parme pendant la première moitié du Cinquecento est un autre sujet de la recherche. Son objet est l’articulation des transformations institutionnelles au sein de la comune, les conquêtes par plusieurs pouvoirs étrangers entre 1499 et 1520 jusqu’à la création du duché de Parme et Piacenza par Paul III en 1545 avec le marché et les pratiques du portrait. Après cette étude du contexte, chacun des portraits de Parmigianino est examiné de façon approfondie, à travers une approche trans-disciplinaire qui associe histoire de l’art, histoire culturelle (littérature, du livre et de l’édition, emblématique, traditions de la rhétorique, débats linguistiques), histoire sociale et politiqueThe dissertation deals with Parmigianino’s activity as a portraitist during the two periods of time he spent in his native Parma, between 1503 and 1524 and then between 1531 and 1540. Its aim is to analyze the painter’s male portraits in particular, that is to to clarify their specific significances and, at the same time, to elucidate the visual and semantic processes through which Parmigianino elaborated the figurative discourses that his portraits convey, in the artistic, cultural, social and political context of their creation. To reach this goal, several methodological approaches are used. The disseration begins with a close study of the artistic history of Parma between 1500 and 1540 and an analysis of the traditions related to portraiture in the city, with regard to its many cultural and political relations to other regions and states (Milan, Venice, Bologna, Florence and Rome). The political history of Parma during the first half of the Cinquencento is an other field of research. Its purpose is to articulate the many institutionnal transformations of the comune, the conquest of Parma by several foreign powers between 1499 and 1520, until the creation of the Duchy of Parma and Piacenza by Pope Paul III, with the market and practices of portraiture. After this close examination of the context, Parmigianino’s portraits are analyzed through a trans-disciplinary approach that deals with art history, cultural history (literature, history of the book, emblems, traditions of rethoric, linguistic debates), social and political history)
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Blomström, André. "Renässansens "Power Couple" : Det äktenskapliga mecenatskapet mellan Piero di Cosimo de’ Medici och Lucrezia Tornabuoni." Thesis, Uppsala universitet, Konstvetenskapliga institutionen, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-387417.
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The purpose of this study is to investigate the patronage of Piero de’ Medici and Lucrezia Tornabuoni. My aim is to discuss and place the patronage in the complex field of the renaissance as an active conjugal partnership between the two. The study is divided in three main chapters, the introduction part where an overview of the main issues in the field of renaissance patronage and a background of the people involved; one chapter where the two religious rooms are introduced and the specific patronage described; and finally a chapter where the different procedures are discussed, compared and combined into one joint conjugal patronage for the both of them. The evidence uncovered supporting the conjugal patronage is partly the similarities between the altar paintings in the rooms. They are both made of Fra Filipo Lippi and both are portraying the Adoration of Infant Jesus. The presence of the coat of arms of both the noble houses at the Camaldoli adoration and a series of lettres between Piero and one of his painters, Benezzo Gozzoli.
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Cobb, Morgan B. "Sex, Chastity, and Political Power in Medieval and Early Renaissance Representations of the Ermine." University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1458578117.
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Rusconi, Gloria. "Beauty Without Pity, Ambition Without Remorse: Lucrezia Borgia and Ideals of Respectable Femininity." Kent State University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=kent1619440010113221.
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Jones, Nikkole R. "La Gioconda." ScholarWorks@UNO, 2014. http://scholarworks.uno.edu/td/1861.
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Set in 16th century Florence, Italy, "La Gioconda" takes you on the journey of Lisa del Gioconda, the woman behind one of the most recognized paintings in the world, The Mona Lisa. Married off at a young age, Lisa finds comfort in her secret love affair with Art. Her secret world crosses paths with an Art apprentice, Leonardo da Vinci, who takes her on as his student. Lisa tells her husband that she is at church praying while spending her afternoons with Da Vinci, mastering her craft and technique. A love affair begins to blossom and Lisa is forced to make a big decision in the end. Secrets begin to unravel including the truth behind Da Vinci's original painting of the Mona Lisa before it became what we all know it to be today.
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Rowley, Neville. "Pittura di luce. La manière claire dans la peinture du Quattrocento." Thesis, Paris 4, 2010. http://www.theses.fr/2010PA040197/document.
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La présente thèse a pour point de départ une exposition florentine organisée en 1990 et intitulée « Pittura di luce ». Ses organisateurs entendaient désigner ainsi un courant de la peinture florentine du milieu du XVe siècle fondé sur la lumière et la couleur claire. Comme l’avait bien compris l’exposition, cette « peinture de lumière » est d’abord identifiable dans la « manière colorée » portée par Fra Angelico et Domenico Veneziano, mais elle doit aussi être élargie à une manière plus « blanche », qui va de Masaccio aux premières œuvres d’Andrea del Verrocchio, au début des années 1470. Les implications techniques et symboliques d’un tel style méritent également d’être étudiées car elles renforcent le sens et la cohérence d’un mouvement publiquement soutenu par les Médicis et dont l’ambition majeure fut de « faire surgir » les peintures religieuses de la pénombre des églises (I). L’étude du développement géographique vaste mais discontinu de la pittura di luce approfondit les hypothèses proposées dans le cas florentin : tout autant qu’une façon moderne et proprement « renaissante » de peindre, la « manière claire » est aussi fondée sur une lumière théologique, associée en partie à la religiosité franciscaine. Piero della Francesca est assurément le grand protagoniste de ce double rayonnement, dans les cours et dans les campagnes (II). C’est également Piero qui sera au cœur de la redécouverte d’une peinture que les XIXe et XXe siècles ont réappris à voir grâce aux historiens de l’art et aux artistes, mais également en raison du changement des conditions de vision des œuvres d’art. En ce sens, la pittura di luce constitue un chapitre important de l’histoire du regard, que l’on propose de rapprocher d’autres redécouvertes picturales elles aussi fondées sur la notion d’apparition (III)This thesis starts from an 1990 Florentine exhibition called “Pittura di luce” which intended to identify a trend in the mid-15th-century Florentine painting. This “painting of light” is not only, as was said at the time, a “coloured style” led by Fra Angelico and Domenico Veneziano, but it should be extended to a more “white manner”, from Masaccio to the first works of Andrea del Verrocchio, in the early 1470s. The technical and symbolical meanings of this style are to be studied as they reinforce the sense and the coherence of a trend publicly sustained by the Medici. The major aim of the “pittura di luce” is to make “emerge” religious paintings from the darkness of the churches (I). The study of the vast but also discontinuous geographical development of this “bright style” amplifies the hypotheses of the Florentine case: as much as a modern way of painting, it has very often a more archaic connotation of divine light. Piero della Francesca is surely the major figure of this ambivalent development (II). He is also one of the most significant examples of the way in which the “pittura di luce” was forgotten, and then rediscovered during the 19th and 20th centuries, thanks to art historians and artists, but also to the changes of the conditions of vision of the works of art. In this sense, the “pittura di luce” is an important chapter of the history of look, that we propose to compare with other rediscoveries of similar “paintings of apparition” (III)
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Berriel, Marina Jorge. "Tradução comentada da obra "Vida de Michelangelo Buonarroti", escrita por Ascanio Condivi." [s.n.], 2008. http://repositorio.unicamp.br/jspui/handle/REPOSIP/279802.
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Orientador: Luiz Cesar Marques FilhoDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
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Resumo: É a realização de uma tradução comentada da obra La Vita di Michelangelo Buonarroti, escrita por Ascanio Condivi, referência na historiografia da arte clássica. No desenvolvimento desta tradução, a comparação de determinados aspectos da obra de Condivi com Vita di Michelangelo Buonarroti, de Giorgio Vasari e, secundariamente, com as biografias posteriores. Análise da função que algumas questões desempenham neste universo. Em especial a forma com a qual as crenças astrológicas e religiosas da época influenciaram as discussões sobre arte e sobre a posição social do artista. Podemos dizer que a dicotomia entre as duas principais visões de arte do período - a coordenada por Michelangelo, e a de Rafael - se justificam com a explicação astrológica quando tratam de questões como a predestinação do indivíduo e o quanto isto altera sua condição de artista. Outra questão é a reincidência de dois temas centrais para Michelangelo, que aparecem na última fase de sua vida: o terror (expresso na arte o sentimento de incomensurabilidade divina em relação ao humano), e a piedade (identificável na série de Pietà realizadas neste período). Secundariamente, discussões como a necessidade de Vasari e Condivi em estabelecer uma origem nobre para a família Buonarrotti, entre outras questões que possam surgir no desenvolvimento do trabalho
Abstract: This work is an annoted translation of the book La Vita di Michelangelo Buonarroti, written by Ascanio Condivi, which is a reference in Classic Art¿s historiography. In the development of this translation, a comparison of determinated aspects of both Vite di Michelangelo, one written by Giorgio Vasari and the other written by Ascanio Condivi is made. Among with these two versions of Vite di Michelangelo Buonarroti other biographies on the same matter written later on are also used as material of comparison on a secondary basis. An analises is made on the role that some questions represent on this particular universe. Specially the way in which religious and astrologycal beliefs of that time have inffluenced the discussions on the artist¿s social position. We may say that the dicotomy between the two most important points of view on Art of that period ¿ one belonging to Michelangelo Buonarroti, and the other belonging to Rafaello ¿ are justified by astrologycal explains when dealing with matters such as predestination of the individual and how it alters his condition as an artist. Another matter is the reincidence of two central themes for Michelangelo on his latest years: the terror (expressed in art as the feeling of unmeasurement of the divine as opposed to humane), and pity (indentifyable in the series of Pietà made in thet period). Secondly, discussions as Condivi¿s need to establish a nobel origin to the Buonarroti¿s family, among other matters that have come up during the development of this work
Mestrado
Historia da Arte
Mestre em História
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Pernac, Natacha. "Luca Signorelli (vers 1445-1523) en son temps, " ingegno e spirito pelegrino“, la peinture de chevalet." Thesis, Paris 4, 2009. http://www.theses.fr/2009PA040244.
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Répondant au caractère « pelegrino » attribué à Luca Signorelli par son contemporain Giovanni Santi, notreréflexion s’articule autour de la triple itinérance du peintre cortonais. La première, fondée sur une géographieartistique, met en jeu commanditaires et collaborateurs entre centres et périphéries et réévalue son imaged’artiste provincial. Il s’agit consécutivement d’établir l’incidence des dévotions locales sur le langage picturalsignorellien, notamment par le biais de la sacra rappresentazione (I). La seconde itinérance, de typeinterdisciplinaire, s’attache à son traitement de la figure humaine et du nu. L’élaboration de sa vision du corpsest confrontée à l’essor contemporain d’une anatomie scientifique et d’une approche expérimentale ou théorique,ainsi qu’à la question des convenances. La sensibilité tactile particulière de Signorelli, sa position dans le débatnaissant du Paragone et les modalités des transferts entre peinture et sculpture sont examinées, tout commel’éventualité d’un passage à l’acte sculptural (II). L’esprit vagabond de Luca, qui s’affirme enfin par uneitinérance temporelle, oscille entre intérêt pour le passé, goût archaïsant et aspiration au renouveau. Sont ainsiétudiés son rapport à l’art antique et sa place entre « seconda e terza età », en spécifiant ses liens avec l’ars novaet les ferments inédits semés. Au-delà des étiquettes de retardataire local ou de précurseur écrasé par un Michel-Ange, cette étude vise à restituer la curiosité, la sociabilité et les échanges d’un artiste de transition (III)Giovanni Santi has depicted his contemporary Luca Signorelli as a « pelegrino » painter. From this startingpoint, our study deals with the cortonese master’s triple itinerary. The first one, relative to artistic geography,concerns patrons and collaborators between centers and peripheries and we intend to reappreciate his image of aprovincial artist. We investigate consequently the impact of local devotions and sacra rappresentazione on hispictorial language (I). The second itinerary, a interdisciplinary one, focuses on the treatment of the human figureand on the nude. His vision of the body is compared with the contemporary development of a scientific anatomyand with practical and theoretical approaches. Indeed it raises the question of the proprieties. The tactile qualitiesof signorellian art, his position in the emerging Paragone debate and the modalities of his volumetric translationare also studied ; we consider the possibility of a sculptural activity (II). Finally, Luca’s roaming imaginationarises from a temporal oscillation between interest for the past, archaic taste and an aspiration for renewal. Wethus examine his relationship with antique art and his position between « seconda e terza età », analyzing hisconnections with ars nova and the original seeds he sow. Beyond the reputation of a local latecomer or of aforerunner in the shade of Michelangelo, we aim to emphasize this way the curiosity, the sociability and theexchanges of a transitionary artist (III)
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Sturm, Eduard. "Die Nietzsche-Renaissance in Italien /." Wien : VWGÖ, 1991. http://catalogue.bnf.fr/ark:/12148/cb356921628.
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