Dissertations / Theses on the topic 'Counter-Reformation art'
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Tsoumis, Karine. "Giovanni Battista Cavalieri's Ecclesiae militantis triumphi : Jesuits, martyrs, print, and the counter-reformation." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=83842.
Full textPorter, Mary Allen. "The draftsmanship of Jacopo Chimenti da Empoli." [S.l. : s.n.], 1995. http://www.ohiolink.edu/etd/view.cgi?case1061992945.
Full textMuraoka, Anne H. "Il fine della pittura: Canon Reformulation in the Age of Counter-Reformation. The Lombard-Roman Confluence." Diss., Temple University Libraries, 2009. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/24398.
Full textPh.D.
Counter-Reformation treatises are typically dismissed as determiners of style. This dissertation challenges the prevailing view that rejects Counter-Reformation theory as key motivators of sacred style, and will prove that one treatise in particular, Cardinal Gabriele Paleotti's 1582 Discorso intorno alle imagini sacre e profane, held a considerable amount of authority almost immediately after its publication. Through a close study of the Discorso's nature-centered language and its applicability to the Lombard tradition of presenting "tangible presences," it is evident that one artist, in particular, fulfilled Paleotti's vision for a "reformed" sacred style, and one who seldom appears in connection with the cardinal: Michelangelo Merisi da Caravaggio. The interconnection of Paleotti's theology of nature, Lombard painting style, and the sacred works of Caravaggio is established through this contextual study of Counter-Reformation Rome in the late Cinquecento and early Seicento. Paleotti's Discorso is evaluated as a whole and as an expression of Paleotti's ideas on sacred art. This examination and analyses of Paleotti's major points and emphases shows how they collectively form a cohesive language and theoretical basis ("theology of nature") for the reformulation of sacred images based on naturalism. Careful readings of Cinquecento and Seicento literature on art (from Vasari to Bellori) draw correspondences between the words used to describe Lombard style and Paleotti's language in his Discorso. The dissemination of his "theology of nature" is demonstrated through reconstruction of Paleotti's Roman circle. Paleotti's important ties to the Oratorians, the Jesuits, the Accademia di San Luca, and his friendships with key cardinal-patrons in the circle of Cardinal Francesco Maria Del Monte, provided an ideal network for the dissemination of his ideas that would in fact put him into contact with Caravaggio. Caravaggio's plebian religious scenes and figures correlate with Paleotti's conviction that naturalism served as a bridge between painted subject and Christian viewer. This dissertation fills not only a critical lacuna in Counter-Reformation studies, but also opens new contextualizing avenues of research and dialogue on the intricate and determining relationship between Counter-Reformation theory and style, at which, at the heart, stand Cardinal Paleotti and Caravaggio.
Temple University--Theses
Smith, Martha Kellogg. "Les nus-pieds et la pauvreté d'esprit : French counter reformation thought and the peasant paintings of the Le Nain brothers /." Thesis, Connect to this title online; UW restricted, 1989. http://hdl.handle.net/1773/6214.
Full textMarquaille, Léonie. "Peindre pour les milieux catholiques dans les Pays-Bas du Nord au XVIIe siècle." Thesis, Paris 10, 2015. http://www.theses.fr/2015PA100126.
Full textThis research intends to be part of the Dutch art historiography’s renewal. The traditional opposition between North and South, Calvinism and Catholicism, History painting and Genre painting is no longer relevant. Although the Reformed church was the public church, the choice of personal religion permitted « sects », like Catholicism, Anabaptism, Lutheranism, to remain active. The presence of Catholics in the calvinist Dutch Republic during the 17th century maintains a demand for paintings : religious art works for churches or private devotion, portraits of the clergy or catholic lay, allegory of the catholic faith. I considered not only the expectations of Catholics in terms of painting, but also the responses of the painters whether they were Catholic or not. My aim is to extend the knowlegde of the production and reception of paintings during the age of the Counter-Reformation in an uncommon political and geographic situation
Ladd, Adam J. "Bernini's Cornaro Chapel: Visualizing Mysticism in the Age of Reformation." Kent State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=kent1342488915.
Full textDilla, Martí Ramon. "Sant Ramon de Penyafort. Imatge, devoció i santedat." Doctoral thesis, Universitat de Barcelona, 2017. http://hdl.handle.net/10803/418807.
Full textThe thesis analyses the representations of the catalan Dominican Raymond of Penafort (c.1185-1275). Raymond was probably the most famous and respected jurist in canon law of his time. After occupying the Chair of canon law at the University of Bologna, he received the Dominican habit in Barcelona in 1222, and begun a promising career inside the Order of Preachers, that reached the nomination as Great Master in 1239. During those years, Raymond also became a famous writer after his Summa de casibus poenitentiae, a book of cases for confessors. Knowing Raymond's reputation in the juridical sciences, Gregory IX appointed him chaplain and grand penitentiary, and also commissioned him the compilation of the Decretales, the most important collection of canon laws approved officially in 1234, that became a Standard until 1917. After Raymond’s death in the convent of Santa Caterina of Barcelona, his tomb was the scenario of different miraculous healings attributed to the friar’s intercession. This fact attracted many pilgrims and encouraged his brothers to begin a canonization process to ascend Raymond to the glory of the altars. The main objective of the thesis is the study of Raymond’s representations as confluence between art, sanctity and devotion in the modern era. Although the work is chronologically focused in the seventeenth and eighteenth centuries, in first instance are closely studied the medieval representations of the friar, in order to observe in a wide and transverse view the genesis, evolution and variants experienced on the iconography of the friar before and after his canonization, held in Rome in 1601.
Bastet, Delphine. "Les Mays de Notre-Dame de Paris (1630-1707) : Peinture, Eglise et monarchie au XVIIe siècle." Thesis, Aix-Marseille, 2014. http://www.theses.fr/2014AIXM3116.
Full textThe mays of Notre-Dame, paintings offered from 1630 till 1707 by the brotherhood Sainte-Anne-Saint-Marcel of the Parisian silversmiths to the cathedral Notre-Dame de Paris in sign of worship in the Virgin, are one of main group of paintings of the XVIIth century. The doctoral thesis proposes a study of this series in two steps, an analytical approach through a essay and a synthetic approach by means of a catalog. The essay approaches on a first part the fraternal context and explains the choice of large formats presented in the nave of the cathedral. The second part is interested in the religious function and the politics of these paintings. The third part becomes attached in the conditions of the command and to the questions of style and estimates the reception of the works at the XVIIIth, XIXth and XXth centuries. The catalog resumes for every picture all the documentary and visual data. Texts accompanying paintings (contracts, explanations, inventories of Notre-Dame) establish appendices. The importance of mays in the religious painting of the XVIIth century holds their echos with the pastoral concerns and théologales of the Church of Paris, as well as in their status of model for the religious painting. Exposed at the heart of the cathedral of Paris, they constitute a decoration crowned in the service of king and of religious politics of the kingdom
Bertolini, Manuel. "Les autorités ecclésiastiques et la réglementation de la musique à l'époque moderne." Thesis, Clermont-Ferrand 2, 2013. http://www.theses.fr/2013CLF20004.
Full textIs it possible to censure music? This question may sound rather extravagant, and this is perhaps why music is often overlooked in studies on ecclesiastical censorship in the early modern period, for it would seem that its very essence is incompatible with any form of control. In fact, the huge transformation the Catholic Church had to face, between the sixteenth and the seventeenth century, had a big impact on the music scene. Unavoidably, music was involved in the disputes between Catholics and Protestants as essential liturgical element. The musicologists have mainly studied the Council of Trent action, which seemed to be animated by the desire to remove the secular textual and melodic components from the church repertory. Therefore, Rome became the main center of production for sacred and spiritual music used in celebrations, devotional practices and also in teaching catechism. The case of the Society of Jesus is exemplar: music represent a powerful means of education in college programs, and a strategic tool in the catechesis work. To the enhancement of spiritual genres corresponds as well the will of ‘suppress’ the profane repertories. This is well documented during the age of Counter Reformation, by the variety of cases of ‘‘travestimento’’ which invest canzonette and madrigals. This attitude was also proved by some of the measures the ecclesiastical censure adopted against the vocal production since the seventies of the sixteenth century. In ancient Greek musical theory, harmony was seen as being endowed with a natural virtue capable of altering the rational faculties of the listener’s soul, to the extent of depriving that person of his freedom. The many ethical implications of this classical axiom featured in early modern theological debates. My thesis tries to provide a first answer to these questions by studying the conciliar decrees, the documents of the Index Congregation, the treatises on music and the manuals on demonology. These sources reveal musical censorship did not only involve zealous inquisitors battling with some licentious musician, but also the language of worship and the circulation of prohibited knowledge, which included dangers in the form of sounds that went beyond erotic seduction
Heussler, Carla. "De cruce Christi : Kreuzauffindung und Kreuzerhöhung : Funktionswandel und Historisierung in nachtridentinischer Zeit /." Paderborn [u.a.] : Schöningh, 2006. http://deposit.ddb.de/cgi-bin/dokserv?id=2753288&prov=M&dok_var=1&dok_ext=htm.
Full textBenzi, Utzima. "Francesco Panigarola : théorie et pratique de l'éloquence sacrée à l'âge de la Contre-Réforme." Thesis, Aix-Marseille 1, 2011. http://www.theses.fr/2011AIX10020.
Full textOur theme in this thesis is sacred eloquence, such as that of the Franciscan preacher Francesco Panigarola, a major figure of post tridentine oratory art, envisaged it as a rhetor and practised it from his pulpit. We have selected texts in Italian from his works: on the one hand, controversial writings, rhetorical and pedagogical treatises, where Panigarola reflects upon the status and finalities of sacred eloquence, and on the other hand, those which bear witness of the oratorical procedures utilized for sermons. Our study links, at one and the same time, a chronological approach, focussing on the biographical profile and a systematic approach to a few major rhetorical and stylistic questions. Our objective is to replace the Franciscan orator within the culture of his times and throw light on certain recurrent themes in his asianic style, particularly the pre-eminent status granted to the resources of visual imagination. Our first part takes us through the stages of Panigarola’s humanistic and religious formation; the presentation of a few previously unpublished documents sheds new light on his activities as a controversialist and diplomat. The second part analyses the theory of sacred oratory art, which he developed in his rhetorical treatises for the use of preachers: Il Predicatore, the Regole per far la memoria locale and the Modo di comporre una predica. The aim of our study is to show the originality of his stylistic initiatives and the rhythmic lexical and morpho-syntaxic methods of Panigarola, which marked the arrival of preaching in the world of Italian literature. The last section is devoted to the definition of Panigarola’s doctrine of the image, together with the description of the visual and auditory strategies employed in his sermons. How did the Franciscan succeed in “bringing to sight”, by his words, and through them, the concepts he wished to transmit? What were the stylistic resources he used to make his speech “seeable”? These questions have been examined from the point of view of “visual” and “resounding” enargeia, and the technical procedures which gave it birth
Palonka-Cohin, Anetta. "La peinture religieuse dans le Haut-Maine au XVIIe siècle." Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040176.
Full textThe inventory of 17th-century paintings in churches in the département of Sarthe reveals that painters in Le Mans, hitherto little known, were prolific at that time. This hive of activity gave rise to an artistic scene in the province of Maine, in and around the city of Le Mans, which prolonged the style of mannerism well into the century, until it was replaced by the authority of Parisian, Italian and Flemish masters. A far cry from main artistic centres, Maine painting was generally conservative and repetitive. Above all, it sought to strike religious believers. Religious works by Maine painters during the post-Tridentine era were functional works, content to merely portray a scene. They required little or no talent and copying was very widespread. This thesis shows that the painting scene in and around Le Mans, although doggedly provincial, was dynamic, open to new contributions and full of interesting characters. Their work marked a turning point in regional production and its evolution followed the same trends as the major Parisian currents, albeit with an evitable delay. We shall examine commissioning, the artists, creation, works and the evolution of painting in Le Mans (I). This will be followed by the dictionary of Maine painters (II) and the catalogue of works (III)
Solà, Colomer Xavier 1972. "La Reforma Catòlica a la muntanya catalana a través de les visites pastorals: els bisbats de Girona i Vic (1587-1800)." Doctoral thesis, Universitat de Girona, 2005. http://hdl.handle.net/10803/7887.
Full textThe present thesis tries to explain the implantation of the Catholic Reform in a few rural parish churches in the bishoprics of Girona (Valleys of Ridaura, Bas, Hostoles and Amer) and Vic (El Collsacabra and Valleys of Susqueda and Sau), from 1587 to 1800, from the post-Trent bishops Jaume Caçador and Pedro Jaime to Illustrated Tomàs de Lorenzana and Francisco de Veyan. The main sources of information are the pastoral bishop visits. These series are well preserved in the Arxiu Diocesà de Girona and the Arxiu Episcopal de Vic. We also have added some other documents: parish registers, notary books (from Rupit, Sant Feliu de Pallerols, El Mallol i Amer) and bishop printed material. We have contrasted the orders from the bishops visits with the decrees from the Council of Trent, the Constitutions of the Tarraconense Province and the Synodal Constitutions of Girona and Vic, and the artistic, architectural and archaeological evidences. All of them have shown the slow pace and the delay of the enterprise.
Lepoittevin, Anne. "La statuaire très chrétienne des Sacri Monti d'Italie (1490-1680) : Génèse, histoire et destin d'une invention moderne." Thesis, Tours, 2013. http://www.theses.fr/2013TOUR2012.
Full textThis dissertation examines the history of the Italian Sacri Monti from a comparative perspective. The main objective is to understand how “architectures” that were copies of void monuments from the Holy Land were transformed into large chronological cycles animated through the use of numerous paintings and statues. The religious motivations of these sites define a specific relationship between the different art forms, one that emphasizes sculpture and which can be characterized as a “Christian paragone”. Statuary is particularly didactic and emotional. It is didactic in the sense that the Sacri Monti serve to stage a narrative statuary It is also emotional since the life-sized and polychrome terracotta sculptures are so “alive” that they seem to be performing the scenes. The many characters in the chapels are both familiar and exotic, diverse and repetitive. They constitute types that often look strangely outraged. Their beauty but also their cruel and deformed ugliness serve a didactic purpose: grounded on a physiognomic reading of the scenes, the (guided) pilgrimage to the Sacri Monti mediates a Christian catharsis
Ostrow, Steven F. "The Sistine Chapel at S. Maria Maggiore Sixtus V and the art of the Counter Reformation /." 1987. http://catalog.hathitrust.org/api/volumes/oclc/21992290.html.
Full textIncludes abstract. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 507-544).
STOENESCU, LIVIA. "The Visual Narratives of El Greco, Annibale Carracci and Rubens: Altarpieces of the Assumption of the Virgin Mary in the Early Modern Age." Thesis, 2009. http://hdl.handle.net/1974/5316.
Full textThesis (Ph.D, Art History) -- Queen's University, 2009-11-13 11:41:08.724
Lourenço, Maria Natália Vilarinho Rocha. "A vida e a obra do historiador Flávio Gonçalves (1929-1987) : estudos breves." Master's thesis, 2014. http://hdl.handle.net/10400.2/4009.
Full textFlávio Gonçalves (1929-1987) é uma personalidade multidisciplinar. Historiador da Arte, iconógrafo, iconólogo, investigador, professor, conferencista, constitui-se como objeto de estudo proposto para a dissertação final do mestrado em Estudos do Património. Homem de ciência, Flávio Gonçalves é apesar de tudo um autor pouco conhecido. Ainda assim, os seus estudos constituem uma referência no processo da leitura e de interpretação dos documentos figurativos, fundamentalmente a arte religiosa. Utilizou o método iconográfico, observando atentamente e descrevendo os elementos visuais bem como o método iconológico, para explicar o significado profundo da obra de arte. O objetivo deste trabalho intenta responder à pergunta o que nos revelam os estudos de Flávio Gonçalves sobre a arte religiosa em Portugal dos séculos XVI e XVII. A obra de Flávio Gonçalves é extensa, motivo por que circunscrevemos o conhecimento dos seus estudos às investigações iconográficas efetuadas na arte religiosa que revelaram influências e ruturas na historiografia nacional. Confrontamos com o que os historiadores da arte nos primeiros anos do século XX nos deixaram para nos situarmos nos processos historiográficos desse tempo e conhecer o que então se escreveu sobre a História da Arte. Flávio Gonçalves, não se limitou a ser um historiador centrado na inventariação exaustiva e cronológica das obras de arte e das épocas a que se reportam. Os seus estudos tanto se centraram nas obras de arte reconhecidas, como nos objetos plásticos de menor valor artístico. Fez-nos perceber que a obra de arte, sendo uma expressão cultural, oferece à nossa crítica mais do que nos revelam as suas cores e as suas formas.
Flávio Gonçalves (1929-1987) is a multidisciplinary figure. As an art historian, iconographer, iconologist, researcher, teacher, lecturer, he was selected as the object of study for the final master's thesis in Estudos do Património. As a man of science, Flávio Gonçalves is, despite all, a little known author. Nevertheless, his studies are a reference in what the process of reading and interpretation of figurative documents, essentially in the religious art is concerned. He used the iconographic method, by attentively looking and describing the visual elements, as well as the iconological method in order to explain the work of art’s deep meaning. The purpose of this study is to try to answer the question what do Flávio Gonçalves studies reveal about Portuguese religious art in the XVI and XVII centuries. Flávio Gonçalves work is extensive and, for this reason, we circumscribed the knowledge of his studies to the iconographic investigations about religious art that had revealed influences and ruptures in national historiography. We compared with the work of other historians from the beginning of the XX century to locate ourselves in the historiographical processes of that time and to get to know what has been written about Art History. Flávio Gonçalves was not just an historian focused on extensive and chronological inventorying of the work of art from the period concerned. His studies focus not only in well-known work of art, but also in plastic objects with minor artistic value. He made us realize that the work of art, as a cultural expression, offers to our criticism more than its colours and shapes.
Caron-Roy, Fannie. "Prier à la campagne : art et dévotion dans les chapelles de villas romaines de la Contre-Réforme." Thèse, 2015. http://hdl.handle.net/1866/13773.
Full textThe taste for countryside palaces among the Princes of the Church was already well established when the Council of Trent (1545-1563) moved to counter the protestant Reformation. This council asserted catholic dogmas and significantly reformed clerical mores. In this context, villas are seen as the perfect stage to realize spiritual ambitions. This thesis thus studies extra-urban devotional practices by examining three chapels in countryside palaces around Rome decorated after the Council of Trent: Cardinal Alessandro Farnese’s (1520-1589) chapel in his villa at Caprarola; the Villa d’Este chapel at Tivoli built for Cardinal Ippolito II d’Este (1509-1572); and the Villa Mondragone chapel at Frascati, ordered by Cardinal Marco Sittico Altemps (1533-1595) for Pope Gregory XIII (1502-1585). We seek to examine the influence of contemporary devotional practices on the iconographic cycles in the private sphere. The public’s perception and spiritual response to the frescoes will be probed through an anthropological approach to images.
Landry, Marie-Philip. "Nature et paysage dans la littérature artistique et dévotionnelle à l'époque de la Contre-Réforme." Thèse, 2014. http://hdl.handle.net/1866/11495.
Full textExamining the writings of Christian humanists, who exercised control over the practice of the arts after the Council of Trent, this paper seeks to understand the development of landscape painting in the Early Modern period. Cardinal Federico Borromeo, the Jesuit Louis Richeome and Jean Calvin, are among those theologians who contributed to this influential Christian literature. We will mainly use the recent historiography to demonstrate the essential role played by Christian thought in the rise of the representation of nature into art. Building on some important studies, we will analyze both pictorial and architectural examples that reflect this Christian influence on the perception of nature. First, we will try to paint a picture of the religious and cultural environment in which the Christian humanists lived and developed their thinking. Our goal is to prove that Christian humanism played an important role in the development of landscape representations during the Counter-Reformation. Contemporary sources as well as their interpretation by modern historians and art historians will help us to better understand the role of Christian thought in this artistic development.
Laferrière, Maude. "Michel-Ange et le motif des genitalia : signification, perception et censure." Thèse, 2017. http://hdl.handle.net/1866/19366.
Full textWe propose a study on the male genitalia in Michelangelo’s production, in order to grasp the significance in different works of art depending on the subject that they represent. By focusing on four pieces of art of the Florentine artist, we would like to clarify the visual impact of the male genitals unveiled and the perception from the Italian audience of the fifteenth century and sixteenth century. The Bacchus (1496-1497), The David, (1501-1504), The Risen Christ (1519-1520) and The Last Judgment (1536-1541) have been chosen for the variety of the topics they illustrate and for the different contexts of production and exhibition. We compare religious pieces of art to profane pieces of art to identify specific issues that result in every case. The decision to stick to only Michelango’s artistic production also implies looking at a specific type of male figure, directly inspired by the Antiquity. For a better understanding of what results from the genitalia’s unveiling, we define essential notions like nude, nudity, sexuality, masculinity and virility in the Renaissance. With a historiographical approach based on The Sexuality of Christ in Renaissance Art and in Modern Oblivion, written by Leo Steinberg, we support his hypothesis about the representations of Christ’ genitals. And with a historical approach we suggest some hypotheses about the nudity of iconic figures realised by Michelangelo. By focusing mainly on the pieces of art mentioned above and the detail of genitalia, we notice that artists, such as Michelangelo, did not represent this detail by chance, but because this part of the body is rich of signification and can serve to express many concepts.
Herbert, Cassandre. "À la recherche de Proserpine : la loggia du palais épiscopal de Bagnaia au temps du cardinal Niccolò Ridolfi (1541-1550)." Thèse, 2017. http://hdl.handle.net/1866/20170.
Full textCristalli, Flavia. "Bartolomeo Cesi (1556-1629). Catalogo delle pitture." Doctoral thesis, 2023. https://hdl.handle.net/2158/1295775.
Full textJoseph, Johanne. "Jacques Linard, Une nature morte de 1640, marqueur de son temps." Thèse, 2017. http://hdl.handle.net/1866/22060.
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