Low and High Style in Italian Renaissance ArtRoutledge, 28.10.2013 - 284 Seiten During the later 15th and in the 16th centuries pictures began to be made without action, without place for heroism, pictures more rueful than celebratory. In part, Renaissance art adjusted to the social and economic pressures with an art we may be hard pressed to recognize under that same rubric-an art not so much of perfected nature as simply artless. Granted, the heroic and epic mode of the Renaissance was that practiced most self-consciously and proudly. Yet it is one of the accomplishments of Renaissance art that heroic and epic subjects and style occasionally made way for less affirmative subjects and compositional norms, for improvisation away from the Vitruvian ideal. The limits of idealizing art, during the very period denominated as High Renaissance, is a topic that involves us in the history of class prejudice, of gender stereotypes, of the conceptualization of the present, of attitudes toward the ordinary, and of scruples about the power of sight Exploring the low style leads us particularly to works of art intended for display in private settings as personally owned objects, potentially as signs of quite personal emotions rather than as subscriptions to publicly vaunted ideologies. Not all of them show shepherds or peasants; none of them-not even Giorgione's La tempesta -is a classic pastoral idyll. The rosso stile is to be understood as more comprehensive than that. The issue is not only who is represented, but whether the work can or cannot be fit into the mold of a basically affirmative art. |
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... Culture , Poetics , and Drama edited by Jonathan Hart RUBENS AND THE ROMAN CIRCLE Studies of the First Decade by Frances Huemer THE MIRROR OF CONFUSION The Representation of French History in English Renaissance Drama by Andrew M. Kirk ...
... Culture , Poetics , and Drama edited by Jonathan Hart RUBENS AND THE ROMAN CIRCLE Studies of the First Decade by Frances Huemer THE MIRROR OF CONFUSION The Representation of French History in English Renaissance Drama by Andrew M. Kirk ...
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... culture as literary as that of the educated man during the fifteenth and sixteenth centuries , the fundamental images were not necessarily fixed for him in prominent works of art . The imagery of language was rich and competitive with ...
... culture as literary as that of the educated man during the fifteenth and sixteenth centuries , the fundamental images were not necessarily fixed for him in prominent works of art . The imagery of language was rich and competitive with ...
Seite xxvii
... 3 . Those works he presents as carrying on much the same business — indoctrination , in a word — as the religious artistic tradition out of which they grew . of European art as any turn toward the culture of INTRODUCTION xxvii.
... 3 . Those works he presents as carrying on much the same business — indoctrination , in a word — as the religious artistic tradition out of which they grew . of European art as any turn toward the culture of INTRODUCTION xxvii.
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Patricia Emison. of European art as any turn toward the culture of antiquity.3 38 If full account is taken of prints within our history of art , its subtext about the inglorious aspects of wealth becomes more complicated . Although they ...
Patricia Emison. of European art as any turn toward the culture of antiquity.3 38 If full account is taken of prints within our history of art , its subtext about the inglorious aspects of wealth becomes more complicated . Although they ...
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... culture , or at a more elite level but still without reliance on textual authority , see Emison , " Bear , " 1992 ; idem , 1990 ; idem , " Adam , " 1988 . 46 See Goldthwaite ( 1987 , pp . 15-39 ) for a pithy analysis of conspicuous con ...
... culture , or at a more elite level but still without reliance on textual authority , see Emison , " Bear , " 1992 ; idem , 1990 ; idem , " Adam , " 1988 . 46 See Goldthwaite ( 1987 , pp . 15-39 ) for a pithy analysis of conspicuous con ...
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