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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Seite xvii
... pp . 125-37 , and idem , " Grazia , " 1991 , pp . 427-60 . " I make no claim here about their real lives and actual social or political vations for using mythological imagery , since goddesses combined sensuality INTRODUCTION xvii.
... pp . 125-37 , and idem , " Grazia , " 1991 , pp . 427-60 . " I make no claim here about their real lives and actual social or political vations for using mythological imagery , since goddesses combined sensuality INTRODUCTION xvii.
Seite xxiii
... lives . Yet Arcadia was eminently secure . There it was structurally disallowed that bourgeois and noble would reverse status as suddenly as reflected light can switch to shadow . Arcadia existed in part to assert that very ...
... lives . Yet Arcadia was eminently secure . There it was structurally disallowed that bourgeois and noble would reverse status as suddenly as reflected light can switch to shadow . Arcadia existed in part to assert that very ...
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... live hand to mouth. Both of these smaller groups have an influence beyond their numbers, and the latter a distinctly regrettable one: Virgilio dice die il vulgo sempre si volge al peggio. Da questo nasce la inferma stabilita, il poco ...
... live hand to mouth. Both of these smaller groups have an influence beyond their numbers, and the latter a distinctly regrettable one: Virgilio dice die il vulgo sempre si volge al peggio. Da questo nasce la inferma stabilita, il poco ...
Seite 4
... live content will be very rich ) .53 Alberti appears to have been personally sympathetic with these sorts of homilies . Alberti also poked fun at metaphorical wealth , borrowing from an aesthetic of poverty to justify his own ...
... live content will be very rich ) .53 Alberti appears to have been personally sympathetic with these sorts of homilies . Alberti also poked fun at metaphorical wealth , borrowing from an aesthetic of poverty to justify his own ...
Seite 8
... live hand to mouth . Both of these smaller groups have an influence beyond their numbers , and the latter a distinctly regrettable one : 64 This is a view of obligation by no means specific to Florence . Cf. Pullam , 1971 , pp . 82-83 ...
... live hand to mouth . Both of these smaller groups have an influence beyond their numbers , and the latter a distinctly regrettable one : 64 This is a view of obligation by no means specific to Florence . Cf. Pullam , 1971 , pp . 82-83 ...
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Alberti allowed Anonymous appear artist associated beauty called century composition Concert culture dance dated death described divine drawing early engraving example expressed female figure Florence Florentine Francesco genre Giorgione's Giovanni hand heroic human idea ideal Idem imagery implied important instance interpretation Italian Italy lament landscape later least less literary lives London look lover low style magnificence male means Michelangelo Milan Museum nature nobility noble object painting pastoral peasant person play poem poet poetry poor portrait possible poverty praise present prints reference Renaissance Renaissance art rich Rome rustic Sannazaro seems shepherd social stag status style suggests symbol tempesta theme theory things thought tion tradition true Venetian Venice viewer Virgil virtue wealth woman women