Relevant bibliographies by topics / Renaissance Narrative painting

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  1. Journal articles
  2. Dissertations / Theses
  3. Books

Academic literature on the topic 'Renaissance Narrative painting'

Author: Grafiati
Published: 4 June 2021
Last updated: 2 February 2022

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Journal articles on the topic "Renaissance Narrative painting"

1

Grewe, Cordula. "Die Renaissance des Epos im romantischen Fresko." Zeitschrift für Kunstgeschichte 79, no. 2 (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 int
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Johnston, Andrew James. "Chaucer‘s Postcolonial Renaissance." Bulletin of the John Rylands Library 91, no. 2 (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
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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 (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 (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 (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-centu
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Brînzeu, Pia. "Shakespeare, the Ekphrastic Translator." Linguaculture 2015, no. 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 (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 s
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9

Gammelgaard, Lasse Raaby. "Torquato Tasso på (kryds og) tværs." K&K - Kultur og Klasse 47, no. 127 (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
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10

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 (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 s
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Dissertations / Theses on the topic "Renaissance Narrative painting"

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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, mo
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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
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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 "Renaissance Narrative painting"

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

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2

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

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3

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

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4

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

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5

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

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6

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

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7

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

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8

Carpaccio: Les esclaves libérés. Pommier, 2007.

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9

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

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

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