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Three essays explore three great masterworks of European art that
visualize the relationship between spiritual and physical love
expressed passionately and graphically in the biblical Song of
Songs. Marilyn Aronberg Lavin writes on Cimabue's vast fresco cycle
of the Virgin in the apse of San Francesco in Assisi, at the
threshold of the Renaissance, where the Franciscan belief in the
bodily Assumption is couched in terms of the Old Testament love
poem. Irving Lavin demonstrates how the invocation of love in the
Song of Songs molded the form of Michelangelo's Medici Madonna as
well as his concept for the entire design and meaning of the Medici
mortuary chapel in San Lorenzo, Florence. Writing together, the
Lavins reveal the generative power of biblical fulfillment in
Rembrandt's famous portrayal of a loving couple, called The Jewish
Bride. Marilyn Aronberg Lavin is known for her fundamental work on
the history of mural decoration in the churches of Italy, and is
the recipient of the coveted Morey Award for Distinguished
Scholarship from the College Art Association. Irving Lavin,
Professor in the School of Historical Studies, Institute of
Advanced Study, Princeton, NJ, is best known for his work on the
Italian Baroque sculpture Gianlorenzo Bernini, but his publications
range over a wide span of Western art, from Late Antiquity to
Jackson Pollock. Marilyn Lavin has been a visiting professor at
Princeton University since 1975. Irving Lavin holds the chair in
art history at the Institute for Advanced Study, Princeton, New
Jersey.
Marilyn Aronberg Lavin has taught the history of art at Washington
University, the University of Maryland, Yale, Princeton, and
Universita di Roma, La Sapienza. Specializing in Italian 13th16th
century painting, she is internationally known for her books and
articles on Piero della Francesca. Her other books include The
Place of Narrative: Mural Painting in Italian Churches, 4311600
AD., and Seventeenth-Century Barberini Documents and Inventories of
Art, both of which were recipients of international prizes for
distinguished scholarship. She is one of the leaders in the use of
computers and digitized imagery for research, teaching, and
publication in the history of art. This book offers a series of
case studies intended to introduce and define an important class of
fifteenth-century Italian art not previously recognized. It is
argued that the paintings and sculptures discussed were created
privately by artists for personal satisfaction and internal needs,
outside the traditional framework of patronage and commercial gain.
Since there is no direct documentation from this period of a work
being privately made, the selection presented here is necessarily
speculative. Instead, the essays focus on works by Piero della
Francesca, Mantegna, Michelangelo, Bellini, and Titian that appear
in the artists testaments, letters of refusals to sell, and
inventories showing ownership at the time of death. The task at
hand is to uncover the motivation and meaning of works of art in
which the medieval craftsman began to rise to the status of
independent artist, and the maker and the viewer confront each
other face to face for the first time.
"Aymeri of Narbonne" tells the story of Aymeri, son of one of
Charlemagne's paladins, who alone accepts the great emperor's
challenge to reconquer Narbonne in Languedoc from the Saracens.
Epic siege and battle, betrayal, and acts of individual heroism
evoke all the elements of the great age of French chanson de geste
epitomized in the Song of Roland. Unlike Roland and many of its
imitators - tales that breathe the air of military culture and the
crusade - Aymeri of Narbonne takes a step forward, toward the age
of the Romance, with a second plot that is no less important than
great battles and Christian-Moslem conflict. Aymeri is advised by
his court that he must seek and marry a noble princess. His quest
eventually takes him across the Alps to Pavia, there to meet and
woo Hermenjart, princess of Lombardy. On the way, the heroic epic
takes a detour into the realm of self-discovery and social satire:
of Italian merchants and German knights, and French obtuseness to
the rules of courtly behavior and of civil life. But the real focus
of the tale soon turns to the lovely - and courageous - Hermenjart.
No passive object of desire or chivalric quest, the princess of
Pavia becomes a character every bit as dynamic as her male suitor
and his companions. Forthright about the status and prospects of a
woman in "chivalrous" France, she long refuses many suitors and
only welcomes Aymeri's advances when she is convinced of his
sincere respect and love - and her own status. The couple goes on
to high adventure and a long, triumphant life. This first English
translation, by Michael A.H. Newth, employs a strict but natural
verse. His introduction gives the tale its historical context and
offers a solid review of its antecedents, authorship, genre and
poetics. Newth also addresses the Crusade and Christian-Moslem
relations, the problem of the "other" in medieval literature,
gender roles and the continuing relevance of the chansons. Includes
introduction, notes, bibliography.
"Lavin's study of the Pierro della Francesca "Flagellation" at
Urbino, as befits this exquisite masterpiece, is a model of lucid
and precise exposition as well as being an exciting exercise of
scholarship. Informed with the intellectual rigour of Scholastic
exegesis, it deserves to be placed with the classic readings of
fifteenth and sixteenth century works by Erwin Panofsky and Edgar
Wind."--"Spectator
"[Lavin] leaves the picture more wondrous than before, a
simultaneous triumph of the theological and biographical, as well
as pictorial, imagination."--Rackstraw Downes, "New York Times Book
Review
Marilyn Aronberg Lavin has taught the history of art at Washington
University, the University of Maryland, Yale, Princeton, and
Universita di Roma, La Sapienza. Specializing in Italian 13th16th
century painting, she is internationally known for her books and
articles on Piero della Francesca. Her other books include The
Place of Narrative: Mural Painting in Italian Churches, 4311600
AD., and Seventeenth-Century Barberini Documents and Inventories of
Art, both of which were recipients of international prizes for
distinguished scholarship. She is one of the leaders in the use of
computers and digitized imagery for research, teaching, and
publication in the history of art. This book offers a series of
case studies intended to introduce and define an important class of
fifteenth-century Italian art not previously recognized. It is
argued that the paintings and sculptures discussed were created
privately by artists for personal satisfaction and internal needs,
outside the traditional framework of patronage and commercial gain.
Since there is no direct documentation from this period of a work
being privately made, the selection presented here is necessarily
speculative. Instead, the essays focus on works by Piero della
Francesca, Mantegna, Michelangelo, Bellini, and Titian that appear
in the artists testaments, letters of refusals to sell, and
inventories showing ownership at the time of death. The task at
hand is to uncover the motivation and meaning of works of art in
which the medieval craftsman began to rise to the status of
independent artist, and the maker and the viewer confront each
other face to face for the first time.
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