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Vasari's celebration of the art of the central Italian cities of
Florence, Rome and Venice, has long left in shadow the art of
northern Italy. The economic and historical decline of the region
compounded this effect with the dispersal of the treasures of the
Farnese to Naples, the Este to Dresden and the Gonzaga to Madrid
and Paris. Each chapter in this volume celebrates a stunning work
from the region, among them Correggio's famed Camera di San Paolo
in Parma, Parmigianino's Camerino in the Rocca Sanvitale near
Parma, the studiolo of Alberto Pio at Carpi, and the Tomb of the
Ancestors in the Tempio Malatestiano in Rimini. The volume as a
whole offers fascinating insights into the tussle between the
maniera moderna and the maniera devota in the first half of the
sixteenth century, when the unity between the elegance and beauty
of art and its religious significance came under debate. Around the
year 1550, when Michelangelo's Last Judgement came under attack for
impiety and lasciviousness and the reformists called for an art
that would invoke in the viewer a devotional response that
identified manifestations of the divine with human feelings and
emotions. In northern Italy, it was on the foundation laid by
Correggio, with his tenderness and ability to evoke the softness of
living flesh, that the Carracci brothers built their reform of
painting.
Vasari's celebration of the art of the central Italian cities of
Florence, Rome and Venice, has long left in shadow the art of
northern Italy. The economic and historical decline of the region
compounded this effect with the dispersal of the treasures of the
Farnese to Naples, the Este to Dresden and the Gonzaga to Madrid
and Paris. Each chapter in this volume celebrates a stunning work
from the region, among them Correggio's famed Camera di San Paolo
in Parma, Parmigianino's Camerino in the Rocca Sanvitale near
Parma, the studiolo of Alberto Pio at Carpi, and the Tomb of the
Ancestors in the Tempio Malatestiano in Rimini. The volume as a
whole offers fascinating insights into the tussle between the
maniera moderna and the maniera devota in the first half of the
sixteenth century, when the unity between the elegance and beauty
of art and its religious significance came under debate. Around the
year 1550, when Michelangelo's Last Judgement came under attack for
impiety and lasciviousness and the reformists called for an art
that would invoke in the viewer a devotional response that
identified manifestations of the divine with human feelings and
emotions. In northern Italy, it was on the foundation laid by
Correggio, with his tenderness and ability to evoke the softness of
living flesh, that the Carracci brothers built their reform of
painting.
From the late 15th to the mid-16th century, an impressive corpus of
architecture, sculpture, and painting was created to embellish
monastic sites affiliated with the Benedictine Cassinese
Congregation of Italy. A religious order of humanistically trained
monks, the Cassinese engaged with the most eminent artists and
architects of the early modern period, supporting the production of
imagery and architecture that was often highly experimental in
nature: from Raphael's Sistine Madonna in Piacenza to Andrea
Riccio's Moses/Zeus Ammon, from Andrea Palladio's church of San
Giorgio Maggiore (Venice) to the superbly crafted choirstalls of
San Severino and Sossio (Naples). Applying a network framework to
the congregation's infrastructure of monasteries makes clear that
the circulation of sophisticated Renaissance art and architecture
constituted only a segment of the monks' investment in the arts.
Monks also served as custodians of an antique monumental heritage
and popular votive images, assuring the survival of ancient
buildings and artifacts of limited aesthetic value that supplied
opportunities for early modern masters to confront an array of
artworks for the reinvention of reformed Christian art and
architecture. Text in English, Italian and German.
This fascinating study considers the poetic and mythological
artworks made for elite female monastic communities in Renaissance
Italy. Nuns from the patrician class, who often disregarded
obligations of austerity and poverty, commissioned sensually
appealing, richly made artifacts inspired by contemporary courtly
culture. The works of art transformed monastic parlors, abbatial
apartments, and nuns' cells into ornate settings, thereby enriching
and complicating the opposition of religious and worldly spheres.
This unconventional monastic and yet courtly decoration was a new
form of art in the way it entangled the sacred and the profane. The
artwork was intended to edify both intellectually and spiritually,
as well as to delight and seduce the viewer. Based on extensive new
research into primary sources, this generously illustrated book
introduces a thriving female monastic visual culture that
ecclesiastical authorities endeavored to suppress. It shows how
this art taught its viewers to use their eyes to gain insights
about the secular world beyond the convent walls.
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