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Competition is one of the driving forces of our time - everything
can suddenly turn into a challenge or a contest. Art, on the other
hand - that is outside the art market-can be seen as a free space
in which something genuinely unique emerges. That this construct is
a historical exception is revealed by a fresh look at the early
modern period: Here, the principle of competition was thought to be
decisive for artistic work. What is more, the competitive habitus
of imitation, competition and surpassing - imitatio, aemulatio and
superatio - was supposed to bring about cultural progress as such.
Even Leonardo knew that "good envy" spurs high performance. Hence,
some of the most famous works of the Renaissance and Baroque
periods emerged from the competitive battles that artists in early
modern Europe fought among themselves, as well as with long-dead
models from antiquity. This splendid catalogue reveals mutual
inspiration and cooperation, but also sheds light on the dark side
of competition for prestigious commissions - envy, intrigue, and
slander.
The Annunciation: a specific event recounted in the Bible and often
represented in artworks, but also the prototype of many other
announcements throughout the history of Western culture. This
volume proposes new readings of pictorial Annunciations from the
Middle Ages and the Early Modern period - treating aspects such as
witnesses, inscriptions and architecture - as well as analyses of
some visual echoes, reenactments of the announcement to Mary in
sacred and profane contexts up to the twenty-first century. Among
the latter are included Venetian decoration glorifying the state, a
Jean-Luc Godard film, a video art piece by Eija-Liisa Ahtila, Lars
von Trier's Melancholia and a saint's bedroom turned into a
pilgrimage site.
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