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Books > Arts & Architecture > Art forms, treatments & subjects > Art treatments & subjects > Iconography, subjects depicted in art > Religious subjects depicted in art
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Altarpieces and Their Viewers in the Churches of Rome from Caravaggio to Guido Reni (Paperback)
Loot Price: R1,727
Discovery Miles 17 270
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Altarpieces and Their Viewers in the Churches of Rome from Caravaggio to Guido Reni (Paperback)
Series: Visual Culture in Early Modernity
Expected to ship within 10 - 15 working days
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A social history of reception, this study focuses on sacred art and
Catholicism in Rome during the late sixteenth and seventeenth
centuries. The five altarpieces examined here were painted by
artists who are admired today - Caravaggio, Guercino, and Guido
Reni - and by the less renowned but once influential Tommaso
Laureti and Andrea Commodi. By shifting attention from artistic
intentionality to reception, Pamela Jones reintegrates these
altarpieces into the urban fabric of early modern Rome, allowing us
to see the five paintings anew through the eyes of their original
audiences, both women and men, rich and poor, pious and impious.
Because Italian churchmen relied, after the Council of Trent, on
public altarpieces more than any other type of contemporary
painting in their attempts to reform and inspire Catholic society,
it is on altarpieces that Pamela Jones centers her inquiry. Through
detailed study of evidence in many genres - including not only
painting, prints, and art criticism, but also cheap pamphlets,
drama, sermons, devotional tracts, rules of religious orders,
pilgrimages, rituals, diaries, and letters - Jones shows how
various beholders made meaning of the altarpieces in their
aesthetic, devotional, social, and charitable dimensions. This
study presents early modern Catholicism and its art in an entirely
new light by addressing the responses of members of all social
classes - not just elites - to art created for the public. It also
provides a more accurate view of the range of religious ideas that
circulated in early modern Rome by bringing to bear both officially
sanctioned religious art and literature and unauthorized but widely
disseminated cheap pamphlets and prints that were published without
the mandatory religious permission. On this basis, Jones helps to
illuminate further the insurmountable problems churchmen faced when
attempting to channel the power of sacred art to elicit orthodox
responses.
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