Relevant bibliographies by topics / Narrative painting, Renaissance

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Academic literature on the topic 'Narrative painting, Renaissance'

Author: Grafiati
Published: 4 June 2021
Last updated: 9 February 2022

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Journal articles on the topic "Narrative painting, Renaissance"

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Grewe, Cordula. "Die Renaissance des Epos im romantischen Fresko." Zeitschrift für Kunstgeschichte 79, no. 2 (December 30, 2016): 226–60. http://dx.doi.org/10.1515/zkg-2016-0019.

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Abstract If the nineteenth century is correctly seen as an age when a new and acute historical awareness reshaped the cultural sensibility, then it is no small irony that in the age of history, history painting was in crisis. One reaction to this crisis is the subject of this paper. Focusing on one of the Nazarenes’ most enchanting fresco projects, the decoration of the Casino Massimo in Rome after major epics by Dante, Tasso, and Ariosto, it traces the reworking and redefinition of history in painting by the German Nazarenes. In so doing, it examines the transformation of history painting into symbolic representation, and maps out the narrative structures, aesthetic strategies, and amalgamation of temporalities that carried this process and were produced in the process.
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Johnston, Andrew James. "Chaucer‘s Postcolonial Renaissance." Bulletin of the John Rylands Library 91, no. 2 (September 2015): 5–20. http://dx.doi.org/10.7227/bjrl.91.2.1.

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This article investigates how Chaucer‘s Knight‘s and Squire‘s tales critically engage with the Orientalist strategies buttressing contemporary Italian humanist discussions of visual art. Framed by references to crusading, the two tales enter into a dialogue focusing, in particular, on the relations between the classical, the scientific and the Oriental in trecento Italian discourses on painting and optics, discourses that are alluded to in the description of Theseus Theatre and the events that happen there. The Squire‘s Tale exhibits what one might call a strategic Orientalism designed to draw attention to the Orientalism implicit in his fathers narrative, a narrative that, for all its painstaking classicism, displays both remarkably Italianate and Orientalist features. Read in tandem, the two tales present a shrewd commentary on the exclusionary strategies inherent in the construction of new cultural identities, arguably making Chaucer the first postcolonial critic of the Renaissance.
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Talbert, Charles H. "Book Review: Illuminating Luke: The Infancy Narrative in Italian Renaissance Painting." Interpretation: A Journal of Bible and Theology 59, no. 2 (April 2005): 218. http://dx.doi.org/10.1177/002096430505900224.

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Need, Stephen W. "Book Review: Illuminating Luke: The Infancy Narrative in Italian Renaissance Painting." Theology 109, no. 847 (January 2006): 71–72. http://dx.doi.org/10.1177/0040571x0610900130.

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von Contzen, Eva. "“Both close and distant”: Experiments of form and the medieval in contemporary literature." Frontiers of Narrative Studies 3, no. 2 (November 23, 2017): 289–303. http://dx.doi.org/10.1515/fns-2017-0019.

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AbstractThis paper argues that some postmodern experimental forms of plot and narrative structure can be thrown into sharper relief by delineating them with medieval narrative practices of plot development. Ali Smith’s 2014 novel How to be both offers an experimental plot that is shaped by the alterity and modernity of medieval and Renaissance art. Drawing on the technique of fresco painting, the novel narrativizes the experience of simultaneity created by recollections of the past in the present. The novel’s two narrative strands – one set in contemporary England, the other in fifteenth-century Italy – are linked in associative and cross-temporal ways and highlight individual experience. Bearing similarities to medieval episodic narratives, the novel maximizes an a-centric narrative design that capitalizes on the reader’s input in motivating the story. Subsequently, Tokyo cancelled (2005) by Rana Dasgupta is briefly discussed as another example of a postmodern novel reminiscent of medieval narrative practices: in this tale collection held together by a very loose framework, plot itself becomes the protagonist as an epitome of modern society’s loss of identity.
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Brînzeu, Pia. "Shakespeare, the Ekphrastic Translator." Linguaculture 2015, no. 1 (June 1, 2015): 89–97. http://dx.doi.org/10.1515/lincu-2015-0038.

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Abstract In The Rape of Lucrece, the Shakespearean heroine admires a wall-painting illustrating a scene from the Trojan War. The two hundred lines of the poem in which Lucrece describes the ancient characters involved in the war represent a remarkable piece of ekphrastic transposition. It produces a vivid effect in the poem’s narrative, draws attention to the power of ekphrasis in guiding the reader’s interpretation, and represents an unrivalled example of embedded ekphrasis, unique in Renaissance poetry.
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Greenstein, Jack M. "Alberti on Historia: A Renaissance View of the Structure of Significance in Narrative Painting." Viator 21 (January 1990): 273–300. http://dx.doi.org/10.1484/j.viator.2.301339.

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Stoenescu, Livia. "Retooling Medievalism for Early Modern Painting in Annibale Carracci’s Pietà with Saints in Parma." Religions 12, no. 8 (August 5, 2021): 609. http://dx.doi.org/10.3390/rel12080609.

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Annibale Carracci (1560–1609) drew on the Italian Renaissance tradition of the Man of Sorrows to advance the Christological message within the altarpiece context of his Pietà with Saints (1585). From its location at the high altar of the Capuchin church of St. Mary Magdalene in Parma, the work commemorates the life of Duke Alessandro Farnese (1586–1592), who is interred right in front of Annibale’s painted image. The narrative development of the Pietà with Saints transformed the late medieval Lamentation altarpiece focused on the dead Christ into a riveting manifestation of the beautiful and sleeping Christ worshipped by saints and angels in a nocturnal landscape. Thus eschewing historical context, the pictorial thrust of Annibale’s interpretation of the Man of Sorrows attached to the Pietà with Saints was to heighten Eucharistic meaning while allowing for sixteenth-century theological and poetic thought of Mary’s body as the tomb of Christ to cast discriminating devotional overtones on the resting place of the deceased Farnese Duke.
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Gammelgaard, Lasse Raaby. "Torquato Tasso på (kryds og) tværs." K&K - Kultur og Klasse 47, no. 127 (June 11, 2019): 131–52. http://dx.doi.org/10.7146/kok.v47i127.114747.

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The article contributes to research into the topos of furor poeticus or poetic madness and its prominence during the romantic period. In particular, it compares how the life story of the mad Italian poet from the Renaissance, Torquato Tasso, was represented in fictionalized versions across media and art forms. Romantic versions of Tasso’s life in drama (Wolfgang Goethe and B. S. Ingemann), poetry (Lord Byron), painting (Eugène Delacroix) and instrumental music (Franz Liszt) are analyzed with the aim of highlighting which aspects of Tasso’s life are portrayed, how the affordances of the medium affect the depiction and how intermedial references and transpositions are in play. In addition to intermediality theory, the transmedial narratology of Werner Wolf is introduced and employed to compare to what degree the different media and art forms can convey prototypical aspects of narrativity. Moving from the most prototypical to the least prototypical narrative genre, the article finds that the more representations of Tasso focus on his time spent in a madhouse, the more the narrative stresses experientiality at the expense of investment in plot development. The affordances of strong narrative media and strong and weak narrative-inducing media may highlight different aspects of the experientiality of furor poeticus, but in all cases the representation of Tasso is performed in an innovative romantic style.
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Ritzerfeld, Ulrike. "In the Name of Jesus. The “IHS”-Panel from Andreas Ritzos and the Christian Kabbalah in Renaissance Crete." Journal of Transcultural Medieval Studies 2, no. 2 (December 1, 2015): 245–73. http://dx.doi.org/10.1515/jtms-2015-0019.

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Abstract To this day, the unique iconography of a fifteenth-century painting of culturally mixed character made by the Cretan artist Andreas Ritzos has not been sufficiently explained. So far, the motif of the letters “IHS” encapsulating narrative scenes of the passion has been linked to the widely propagated devotion of St. Bernardine of Siena to the name of Jesus. However, several elements contradict a direct reference to Bernardine propaganda. The concept underlying the panel seems to be a more complex and highly erudite one. The fact that Christian Kabbalists discussed many of its topics suggests that the iconography of the panel was influenced by Kabbalistic ideas, probably due to the intense relations between Crete and Venice in particular and Italy in general as a centre of Christian Kabbalistic lore. In any event, the panel proves to be a result of the thriving climate of intellectual, religious and artistic syncretism in Renaissance Crete.
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Dissertations / Theses on the topic "Narrative painting, Renaissance"

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Edney, Katherine School of Arts UNSW. "Painting narrative: the form and place of narrative within astatic medium." 2008. http://handle.unsw.edu.au/1959.4/43099.

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Within painting, there are numerous possibilities for the ways in which a narrative can be compositionally presented in order to communicate a particular emotion or story. Traditional devices including gesture, facial expression, interaction of figures and symbolism establish foundations within the composition to facilitate a narrative response and formulate questions as to the how, what and why. This formal language may also be considered in addition to other concepts surrounding the term narrative itself. The notion of narrative as something which is fluid also encompasses issues of time, movement, and continuity; idea??s which seemingly contradict the static temperament of painting. How painters have been able to successfully construct elements of narrative in their work, while also capturing a sense of movement or a passage of time is the starting point at which the following research takes shape. When embarking on this project, I realised that there was no definitive text on this subject which specifically analysed the form and composition of pictorial narratives as sole entities. Theoretical discussions surrounding a painting??s formal arrangement have mostly been produced in relation to how they either illustrated or have been adapted from a written source. This paper is intended to examine the structure of narrative paintings from a stand alone visual perspective, and not how they are comparative to a literary source. Over the course of this investigation, I subsequently found that the methodologies of continuous narrative paintings from the Renaissance echoed certain theoretical concerns within contemporary cinematic narratives. While painting and film maintain a relationship to some degree because they are both visual media, (in reference to colour, tone and symbolism), the most interesting parallel is the depiction of time. This correlation between painting and film, where elements of the narrative are compositionally presented in a non-linear way, has had the most important influence over the production of my work for the exhibition, ??Hidden Fractures; A Narrative in Time??. Certain structures within film, such as event ??order?? and sequencing resonate correspondingly to the stylistic approach sustained within recent work. This ??jig-saw?? method, presents individual paintings (or canvases) akin to pieces of a story which have been sliced up, and placed back together out of their ??chronological?? order. These chosen snippets may represent a scene or emotion, and uphold their own position or viewpoint in relation to another image or painting. These unmatched sequences of images, similar to the unmatched sequences in film, can disrupt the perception and flow of space, and sense of narrative order. When sequences are viewed out of order, the perception of events within the narrative change. The viewer strives to construct the meaning of the work dependent upon each image??s relationship to another, in turn forming the underlying narrative. Through such ??story comprehension??, the viewer endeavours to create ??logical connections among data in order to match general categories of schema??. (Brangian 15)
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Morhart, Amanda. "Black Africans as ‘Domestic Enemies’ in Late Italian Renaissance Narrative Painting." Thesis, 2014. http://hdl.handle.net/1974/8632.

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This dissertation investigates the role of black African slaves and servants in relation to Italian Renaissance anxieties about them as ‘domestic enemies.’ Three case studies form the basis of this investigation, and include late Renaissance paintings of Judith and Holofernes, the Rape of Lucretia, and Bathsheba at her Bath. Virtually none of the biblical or classical textual accounts of these subjects ascribes an ethnicity to the servile figures. Artists, by depicting black African men, women and children as participants in scenes of threatened or enacted sexual violence, added tension to the iconography. To uncover contemporary cultural attitudes about domestic slaves and servants, documents and textual sources, such as poems and short stories, are examined. These sources provide insight about the types of fears and prejudices that people had about black domestics as potentially insidious, or even nefarious. By including such figures in their paintings, artists were able to exploit the contemporary fascination that people had with the potentially threatening nature of black slaves and servants, thereby adding a degree of titillation to their artworks. The presence of black Africans in narrative paintings evoked deeply ambivalent attitudes about these figures as both faithful and potentially threatening.
Thesis (Ph.D, Art History) -- Queen's University, 2014-02-13 15:34:27.666
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Lynch, Peter Francis. "Patriarchy and narrative the Borgherini chamber decorations /." 1992. http://catalog.hathitrust.org/api/volumes/oclc/32513254.html.

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Books on the topic "Narrative painting, Renaissance"

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Story and space in Renaissance art: The rebirth of continuous narrative. Cambridge [England]: Cambridge University Press, 1995.

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2

Hornik, Heidi J. Illuminating Luke: The infancy narrative in Italian Renaissance painting. Harrisburg, PA: Trinity Press International, 2004.

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3

Venetian narrative painting in the age of Carpaccio. New Haven: Yale University Press, 1988.

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Brown, Patricia Fortini. Venetian narrative painting in the age of Carpaccio. New Haven, Conn: Yale U.P., 1990.

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Approaching sacred pregnancy: The cult of the Visitation and narrative altarpieces in late fifteenth-century Florence. Helsinki: Suomalaisen Kirjallisuuden Seura, 2007.

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Ringbom, Sixten. De l'icône à la scène narrative. Paris: Gérard Monfort, 1997.

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Gemälde und Drama: Giotto, Masaccio, Leonardo. Frankfurt am Main: Suhrkamp Verlag, 2009.

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Carpaccio: Les esclaves libérés. Paris: Pommier, 2007.

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Torti, Luigia. L'umanizzazione del divino e l'ideale civico nei cicli narrativi della Venezia quattrocentesca. [Italy?]: s.n., 1996.

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Torti, Luigia. L' umanizzazione del divino e l'ideale civico nei cicli narrativi della Venezia quattrocentesca. Pavia: L. Torti, 1996.

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You might also be interested in the extended bibliographies on the topic 'Narrative painting, Renaissance' for particular source types:
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