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Titian, Colonna and the Renaissance Science of Procreation
demonstrates that two major monuments of Italian Renaissance
culture - Bellini's and Titian's famous series of mytho-poetical
paintings for the camerino of Duke Alfonso d'Este of Ferrara, and
Francesco Colonna's Hypnerotomachia Poliphili - were conceived as
mnemonic or pedagogical devices aimed at educating the
reader/beholder in the medical science of reproductive physiology
and the maintenance of sexual health. It is further argued that the
learned courtier Mario Equicola, who conceived the pictorial
program of Duke Alfonso's camerino, had read Colonna's text and was
extensively inspired by its prior literary argument. The study is
organized in two parts, intimately interrelated. The first part is
a study of Alfonso d'Este's camerino, with a general introduction,
individual chapters on each of Bellini's and Titian's four
pictorial "bacchanals," and a conclusion proposing a new and more
accurate reconstruction of the layout of the room, also including a
completely new way of interpreting the ensemble. The second part of
the study concerns Colonna's Hypnerotomachia Poliphili, again
beginning with its own introductory essay and advancing a
completely new interpretation of the text. The brief conclusion
brings the insights of the two sections together, clarifying the
historical relationship between the pictorial and literary works
and explaining their larger cultural significance. Emphasizing
Equicola's use of the Hypnerotomachia as a model for pictorial
invention, the author reveals how Titian's remarkably sensuous
paintings and Colonna's erotically-charged romance are related by
their common reference to the neo-Aristotelian medical theory of
the "libidinal seasons," and by corollary themes of marriage and
sexual consummation. This peculiar intersection of cultural themes
came to prominence in the context of a courtly world in which
medical science was increasingly brought to bear on the problem of
dynastic continuity. While the book thus makes a major contribution
to historical and art-historical inquiry into Renaissance notions
of sexuality, it also relates this theme to the question of
masculine identity and fatherhood, the histories of sexuality and
marriage, and the interpretation of courtly art and literature as
instruments of political or dynastic ideology. In addition, by
grafting together the methods of advanced iconographic philology
with those of comparative literature, the author provides a new
methodological model that could be applied to other cultural
monuments.
Titian, Colonna and the Renaissance Science of Procreation
demonstrates that two major monuments of Italian Renaissance
culture - Bellini's and Titian's famous series of mytho-poetical
paintings for the camerino of Duke Alfonso d'Este of Ferrara, and
Francesco Colonna's Hypnerotomachia Poliphili - were conceived as
mnemonic or pedagogical devices aimed at educating the
reader/beholder in the medical science of reproductive physiology
and the maintenance of sexual health. It is further argued that the
learned courtier Mario Equicola, who conceived the pictorial
program of Duke Alfonso's camerino, had read Colonna's text and was
extensively inspired by its prior literary argument. The study is
organized in two parts, intimately interrelated. The first part is
a study of Alfonso d'Este's camerino, with a general introduction,
individual chapters on each of Bellini's and Titian's four
pictorial "bacchanals," and a conclusion proposing a new and more
accurate reconstruction of the layout of the room, also including a
completely new way of interpreting the ensemble. The second part of
the study concerns Colonna's Hypnerotomachia Poliphili, again
beginning with its own introductory essay and advancing a
completely new interpretation of the text. The brief conclusion
brings the insights of the two sections together, clarifying the
historical relationship between the pictorial and literary works
and explaining their larger cultural significance. Emphasizing
Equicola's use of the Hypnerotomachia as a model for pictorial
invention, the author reveals how Titian's remarkably sensuous
paintings and Colonna's erotically-charged romance are related by
their common reference to the neo-Aristotelian medical theory of
the "libidinal seasons," and by corollary themes of marriage and
sexual consummation. This peculiar intersection of cultural themes
came to prominence in the context of a courtly world in which
medical science was increasingly brought to bear on the problem of
dynastic continuity. While the book thus makes a major contribution
to historical and art-historical inquiry into Renaissance notions
of sexuality, it also relates this theme to the question of
masculine identity and fatherhood, the histories of sexuality and
marriage, and the interpretation of courtly art and literature as
instruments of political or dynastic ideology. In addition, by
grafting together the methods of advanced iconographic philology
with those of comparative literature, the author provides a new
methodological model that could be applied to other cultural
monuments.
During the early modern period sculptors experimented with forms,
typologies, and materials of their art in unprecedented ways.
Sculpture was at the center of theoretical debates concerning the
relative merits of the different arts, the differences between
ancient and modern art, and the relationship between art and
nature. Rome was a major center for these theoretical debates, as
well as a locus for patronage and collecting. Sculptors from all
over Europe came to Rome to study the remains of the antique past
and to practice their art. Critical Perspectives on Roman Baroque
Sculpture stakes out a new frontier of research on
seventeenth-century sculpture in Rome-a frontier that looks well
beyond attributional and technical questions, instead focusing on
questions of historical context and criticism including the
interaction of sculptural theory and practice; the creative roles
of sculptors and their patrons; the relationship of sculpture to
its antique models and to contemporary painting; and problems of
contextual meaning and reception. Aside from the editors, the
contributors are Michael Cole, Julia K. Dabbs, Maarten Delbeke,
Damian Dombrowski, Maria Cristina Fortunati, Estelle Lingo, Peter
M. Lukehart, Aline Magnien, and Christina Strunck.
During the early modern period sculptors experimented with forms,
typologies, and materials of their art in unprecedented ways.
Sculpture was at the center of theoretical debates concerning the
relative merits of the different arts, the differences between
ancient and modern art, and the relationship between art and
nature. Rome was a major center for these theoretical debates, as
well as a locus for patronage and collecting. Sculptors from all
over Europe came to Rome to study the remains of the antique past
and to practice their art. Critical Perspectives on Roman Baroque
Sculpture stakes out a new frontier of research on
seventeenth-century sculpture in Rome--a frontier that looks well
beyond attributional and technical questions, instead focusing on
questions of historical context and criticism including the
interaction of sculptural theory and practice; the creative roles
of sculptors and their patrons; the relationship of sculpture to
its antique models and to contemporary painting; and problems of
contextual meaning and reception.
Aside from the editors, the contributors are Michael Cole, Julia K.
Dabbs, Maarten Delbeke, Damian Dombrowski, Maria Cristina
Fortunati, Estelle Lingo, Peter M. Lukehart, Aline Magnien, and
Christina Strunck.
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