| 1. |  € 135,00 | EAN-13: 9782503579795 L. Pericolo
Perfection: The Essence of Art and Architecture in Early Modern Europe
| Edizione: | Brepols Publishers, 2019 | | Collana: | Art History (Outside a Series) |
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Indicativamente procurabile in 15-20 giorni lavorativi | | Info disponibilità | Rifornimento in corso | | Prezzo di acquisto | € 135,00 | | Descrizione | Whether a painting, a sculpture, or a building, works of art in early modern Europe must achieve the highest degree of perfection. If in the Middle Ages perfection is mostly perceived as a technical quality inherent in craftsmanship?a quality that can be judged according to often unspoken criteria agreed upon by the members of a guild?from the fifteenth century onwards perfection comes to incorporate a set of rhetorical and literary qualities originally extraneous to art making. Furthermore, perfection becomes a transcendent quality: something that cannot be measured only in terms of craftsmanship. In the Baroque period, perfection turns into obsession as a result of the emergence of historical models of artistic evolution in which perfection is already historically embodied?in the first place, Vasari?s investiture of Michelangelo as a universal canon for painting, sculpture, and architecture. This book aims to define, analyze, and reassess the concept of perfection in the arts and architecture of early modern Europe. What is perfection? What makes a work of art unique, emblematic, or irreplaceable? Does perfection necessarily relate to individuality? Is the perfect work connate with or independent from its author? Can perfection be reproduced or represented? How do artists react to perfection? How do post-Vasarian models of art history come to terms with perfection? To what extent perfection in early modern Europe is the matter of rhetoric, literary theories, theology, and even scientific observation? |  Aggiungi al Carrello |
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| 2. | € 150,00 | EAN-13: 9782503555584 L. Pericolo
Remembering the Middle Ages in Early Modern Italy
| Edizione: | Brepols Publishers, 2015 | | Collana: | Art History (Outside a Series) |
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Indicativamente procurabile in 15-20 giorni lavorativi | | Info disponibilità | Rifornimento in corso | | Prezzo di acquisto | € 150,00 | | Descrizione | Introduction ? Jessica N. Richardson Antiquitas and the Medium Aevum: The Ancient / Medieval Divide and Italian Humanism ? Frederic Clark Vasari in Practice, or How to Build a Tomb and Make it Work ? C. Jean Campbell Shifting Identities: Jacopo Campora?s De Immortalitate Anime from Manuscript to Print ? Eugenio Refini Leon Battista Alberti: ?Philology? of Forms and Time in Sant?Andrea, Mantua ? Arturo Calzona Did Siena Have a Renaissance? ? Jane Tylus Persistence and Polychronicity in Roman Churches ? Dale Kinney Pulci?s Morgante and the End of a Medieval World ? David Quint Incorporating the Middle Ages: Lazzaro Bastiani, the Bellini, and the ?Greek? and ?German? Architecture of Medieval Venice ? Lorenzo Pericolo Dante and Petrarch in Giovan Battista Gelli?s Lectures at the Florentine Academy ? Federica Pich Medieval Column Crosses in Early Modern Bologna ?Jessica N. Richardson Serving Christ: The Assumption Procession in Sixteenth-Century Rome ? Kirstin Noreen Changing Historical Perspectives? Giovan Pietro Bellori and the Middle Ages in Rome ? Elisabeth Oy-Marra Visual Evidence and Periodization in Giulio Mancini?s Observations on Early Christian and Medieval Art in Rome ? Frances Gage Epilogue: The Shifting Boundaries of the Middle Ages: From Die Kultur der Renaissance in Italien (1860) to Anachronic Renaissance (2010) ? Lorenzo Pericolo | Aggiungi al Carrello |
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| 3. |  € 200,00 | EAN-13: 9781905375486 L. Pericolo
Caravaggio and Pictorial Narrative. Dislocating the Istoria in Early Modern Painting
| Edizione: | Brepols Publishers, 2011 | | Collana: | Studies in Baroque Art |
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Indicativamente procurabile in 15-20 giorni lavorativi | | Info disponibilità | Rifornimento in corso | | Prezzo di acquisto | € 200,00 | | Descrizione | "Truly a distinguished achievement, this book is required reading for general readers as well as specialists in the history of art" (Charles Dempsey, The Johns Hopkins University)
A very important part of Caravaggio?s production consists of pictorial narratives, mostly religious. Thus, according to early modern aesthetics, Caravaggio practiced the artistic genre of the istoria: the most discussed and thoroughly defined pictorial institution of his time. Unanimously, seventeenth-century artists and art theorists censored and condemned Caravaggio?s art for its numerous deficiencies and faults in regard to the principles of the istoria. In spite of all these testimonies, Caravaggio?s innovations in and misuses of the techniques specific to early modern pictorial narrative have never been systematically studied, debated, and put into historical perspective. In this volume, Lorenzo Pericolo argues that Caravaggio?s multiple experimentations with the traditional devices of the istoria not only represent the core of an unprecedented "poetics of dislocation," but also unsettled, dismantled, and expanded the scope of pictorial narrative in ways that would have redefined and deeply transformed the concept of painting and artistic creation, had Caravaggio?s enterprise not have been ferociously criticized and stigmatized as both aberrant and defective. To solidly establish the importance and groundbreaking charge of Caravaggio?s work, Pericolo examines the notion of Leon Battista Alberti?s istoria as interpreted and developed by early modern artists and theorists?from Leonardo to Vasari, from Lomazzo to Poussin, and from Michelangelo to Bellori?in vast surveys in which the concepts of diachrony, duration, eurythmy, propriety, verisimilitude, and pictorial truth? among others?are carefully examined on a theoretical and practical level. By analyzing the paintings of Caravaggio?s followers such as Cecco del Caravaggio, Battistello Caracciolo, Valentin de Boulogne and, not least, Diego Velázquez, Pericolo explores how Caravaggio?s innovations in the domain of pictorial narrative were variously construed, elaborated upon, and brought to fruition in the aftermath of the master?s death in 1610, thereby offering a critical explanation of the implosion and extinction of the Caravaggesque movement in the 1630s. | Aggiungi al Carrello |
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