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Barry, Marie Porterfield. "Lesson 08: The Renaissance." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/art-appreciation-oer/9.
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This lesson covers artworks created during the Renaissance in Europe. It begins with a preface on artworks created prior to the Renaissance that focused on Christian ideology and iconography. Artists discussed include Botticelli, Donatello, Michelangelo, Bernini, and Leonardo da Vinci.
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Knotts, Robert Marvin. "Judith in Florentine Renaissance Art, 1425-1512." The Ohio State University, 1995. http://rave.ohiolink.edu/etdc/view?acc_num=osu1261076833.
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Kline, Jonathan Dunlap. "Christian Mysteries in the Italian Renaissance: Typology and Syncretism in the Art of the Italian Renaissance." Diss., Temple University Libraries, 2008. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/4976.
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Art HistoryPh.D.;
My dissertation studies the typological juxtaposition and syncretic incorporation of classical and Christian elements-subjects, motifs, and forms-in the art of the Italian Renaissance and the significant meaning of classical subjects and figures in such contexts. In this study, I analyze the interpretative modes applied to extra-Biblical and secular literature in the Italian Tre- and Quattrocento and the syncretic philosophies of the later Quattro- and early Cinquecento and reevaluate selected works of art from the Italian Renaissance in light of the period claims and beliefs that are evident from such a study. In summary, my dissertation considers the use of classical subjects, motifs, and forms in the art of the Italian Renaissance as a means to gloss or reveal aspects of Christian doctrine. In chapter 1, I respond to the paradigm proposed by Erwin Panofsky (Renaissance and Renascences) and establish a new criteria for understanding the difference between medieval and Renaissance perceptions of classical antiquity. Chapter 2 includes a study of the mythological scenes painted in the Cappella Nova of Orvieto Cathedral, which are here shown to gloss and reveal aspects of the developing Christian doctrine of Purgatory. In chapter 3, I study the Renaissance use of representational ambiguity as a means of signifying the propriety of pursuing an allegorical interpretation of a work and specifically address the typological significance of figures in Botticelli's Primavera. In chapter 4, I examine the philosophical concepts of prisci theologii and theologicae poetae and their significance in relation to the representation of classical figures in medieval and Renaissance works of art. This study provides the necessary background for a reevaluation of syncretic themes in Raphael's Stanza della Segnatura, which is the subject of the final chapter. In chapter 5, I identify classical figures in the frescoes of the Stanza della Segnatura-among them, Orpheus in the Parnassus and Plato and Aristotle in the Disputa-and offer a new interpretation of the iconographic program of the Stanza della Segnatura frescoes as a representation of the means by which participants in the Christian tradition, broadly conceived, approach God through the parallel paths of dialectic and moral philosophy.
Temple University--Theses
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Barry, Marie Porterfield. "Lesson 13: Mirrors in Renaissance and Baroque Art." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/art-appreciation-oer/14.
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Hayden, Margaret. "The Medici Example: How Power Creates Art and Art Creates Power." Digital Commons @ East Tennessee State University, 2021. https://dc.etsu.edu/etd/3917.
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This project looks at two members of Florence’s Medici family, Cosimo il Vecchio (1389-1464) and Duke Cosimo I (1519-1574), in an attempt to assess how they used the patronage of art to facilitate their rule. By looking at their individual political representations through art, the specifics of their propagandist works and what form these pieces of art came, it is possible to analyze their respective rules. This analysis allows for a clearer understanding of how these two men, each in very different positions, found art as an ally for their political endeavors. While they were in power only one hundred years apart, they present uniquely different strategies for the purpose of creating and maintaining their power through the patronage of art.
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Barry, Marie Porterfield. "Lesson 09: Michelangelo- From High Renaissance to Mannerism." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/art-appreciation-oer/10.
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Bokelman, Dorothy Jane. "Portraits in extremis : severed heads in Renaissance and Baroque portraiture /." The Ohio State University, 2002. http://rave.ohiolink.edu/etdc/view?acc_num=osu1486402957196.
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Harari, Yuval Noah. "Renaissance military memoirs : war, history, and identity, 1450-1600 /." Woodbridge : Boydell Press, 2004. http://catalogue.bnf.fr/ark:/12148/cb392083492.
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Texte remanié de: Th. Ph. D.--Oxford--Jesus College, 2002. Titre de soutenance : History and I : war and the relations between history and personal identity in Renaissance military memoirs, c. 1450-1600.Bibliogr. p. 205-218. Index.
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Barry, Marie Porterfield. "Lesson 10: The Northern Renaissance and Arnolfini Double Portrait." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/art-appreciation-oer/11.
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McCray, William Patrick. "The culture and technology of glass in Renaissance Venice." Diss., The University of Arizona, 1996. http://hdl.handle.net/10150/290650.
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Venetian glass, especially that of the Renaissance, has been admired for centuries due to its quality workmanship and overall visual appeal. In addition, a certain mystique surrounds the glassmakers of Venice and their products. This dissertation research undertakes a comprehensive view of the culture and technology of Renaissance Venetian glass and glassmaking. Particular attention is paid to luxury vessel glass, especially those made of the "colorless" material typically referred to as cristallo. This segment of the industry is seen as the primary locus of substantial technological change. The primary question examined in this work is the nature of this technological change, specifically that observed in the Renaissance Venetian glass industry circa 1450-1550. After providing an appropriate social and economic context, a discussion of Venice's glass industry in the pre-Renaissance is given. Industry and guild trends and conditions which would be influential in later centuries are identified. In addition, the sudden expansion of Venice's glass production in the mid-15th century is described as a self-catalyzed phenomenon in response to prevailing cultural and economic conditions. Demand is identified as a necessary precursor to the production of luxury glass. Building on this concept, activities and behaviors relevant to demand, production, and distribution of Venetian glass are examined in depth. The interaction between the Renaissance consumer and producer is treated along with the position of Venice's glass industry in the overall culture and economy of the city. It is concluded that the technological changes observed in Venice's Renaissance luxury glass industry arose primarily out of perceived consumer demand. Social and economic circumstances particular to Renaissance Italy created an environment in which a technological development such as cristallo glass could take place. The success of the industry in the 15th and 16th centuries can be found in the fruitful interplay between consumers and producers, the manner in which the industry was organized, coupled with the skill of the Venetian glassmakers to make and work new glass compositions into a variety of desired objects.
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Thomas, Jenna Caye. "Visions of the East: Influence of the Levant on the Italian Renaissance." Kent State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=kent1448533555.
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Rachele, Cara Paul. "Building Through the Paper: Disegno and the Architectural Copybook in the Italian Renaissance." Thesis, Harvard University, 2015. http://nrs.harvard.edu/urn-3:HUL.InstRepos:17467183.
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The dissertation looks at architectural theory in early modern Italy through a history of its drawings. It examines a group of early-sixteenth-century drawing books, made in and around Rome, that comprised reproductive drawings based on circulating drawing exemplars from the late fifteenth century. The drawing books are identified as study tools made by artisans who aspired to the practice of architecture. The study illuminates the broader shift toward drawing as the primary means of architectural design.
The first chapter contends that the distinctive drawing practices of architecture arose from the merging of the representational traditions of figural and mechanical drawing, identifying this progression in architectural texts by Cennino Cennini, Leon Battista Alberti, Filarete, Francesco di Giorgio Martini, Leonardo, and Raphael. The next chapter reconsiders the “treatise-books” of the 1510s-1530s as copybooks for architectural draftsmen, analogous to the commonplace books created by humanist scholars, using the Codex Coner (Soane’s Museum, London) as a case study. Chapter 3 looks at the widespread phenomenon of drawing and copying architectural details and tracks its development from detail drawing series made in the fifteenth century to the precisely measured images of the early sixteenth century. The case study is the Codex Fogg (Harvard Art Museums, Cambridge). Chapter 4 traces the empirical development of orthographic section drawing as an established component of the drawing palette of the architectural draftsman, taking the Codex Mellon (Pierpont Morgan Library, New York) as an example. Chapter 5 investigates the circumstances that influenced the end of the architectural copybook phenomenon in the late 1530s-40s. Two examples demonstrate the transition, the Codex Lille by Raffaello da Montelupo (Musée des Beaux-Arts, Lille) and the Codex Campori App. 1755 of Giovanni Antonio Dosio (Biblioteca Estense, Modena).History of Art and Architecture
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Cleave, Claire Van. "Luca Signorelli as a draughtsman." Thesis, University of Oxford, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.307432.
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Frady, Lisa Y. "Constructing social identity in Renaissance Florence: Botticelli's "Portrait of a Lady (Smeralda Brandini)"." Thesis, The University of Arizona, 2001. http://hdl.handle.net/10150/291426.
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Botticelli's Portrait of a Lady (Smeralda Brandini ) (c. 1471) is representative of a largely uninvestigated tendency in Italian Renaissance portraiture to depict female sitters without sumptuous clothing, jewelry, and heraldic devices. Traditionally, these visual cues had been used to construct the elevated social identity of portrait sitters. This study scrutinizes a work within a neglected portion of Botticelli's oeuvre, examining the ways in which its modest, and somewhat ambiguous, visual cues also construct its sitter's elevated social identity, while simultaneously protecting it. This analysis seriously considers a portrait of a woman who is not famous, nor an idealized beauty, nor an allegorical figure. It explores her image, its functions, and its multiple layers of meaning within the confines of late-fifteenth century social relationships, gender roles, and the original domestic viewing context of Renaissance portraits (considering their public display, as well as their relationship to Marian imagery, within the home).
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Wright, Jarrell D. "Dancing before the Lord| Renaissance ludics and incarnational discourse." Thesis, University of Pittsburgh, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3725605.
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Play is a manifestation of overflowing excess. When applied to the study of discourse, this bounty can be understood in terms of figurativeness and depth. If “degree-zero” discourse is the almost entirely unfigured language of an instruction manual, then verse lies near the other extreme: highly figured and elaborate language open to rich interpretive possibilities. I posit a further pole yet on this continuum: the hyperabundant texts of the Renaissance, when ludics were at a height partially quashed by the Enlightenment preference for the plain style. These ludic texts are not merely decorative but rather reflect the incarnational impulse of Renaissance Christian thought; they attempt to praise and to imitate the power of Divine language, in which Word is made Flesh in the West’s master model of superabundance, grace through Christ’s Incarnation and Sacrifice.
This project conducts three case studies of playfully incarnational discourses during the Renaissance: in speech, in imagery, and in verse. First, it analyzes sermons by John Donne that reflect candidly on the power of Donne’s own ludic speech, concluding that his transgressive, gamelike rhetoric was oriented toward stimulating responsive action. Next, it examines period images through the lens of contemporary popular works that conceive of images as puzzles to be decoded, solved, and read, concluding that period anamorphoses and similar works were efforts to infuse images with lively presence in a way that helps to account for iconophobic and iconophilic strains in English Reformation thought. Finally, it reads George Herbert’s deceptively simple poem, “The Altar,” examining how the piece may be understood as an intervention into the shaped-verse tradition and how it reflects on period debates about Church fabric, concluding that the toylike or tricklike construction evokes the Eucharistic presence of the Divine in Herbert’s worshipful meditation.
At stake are a greater appreciation for Renaissance artistry, a fuller understanding of the complexityof the English Reformation, and a richer vocabularyfor play theorists working with ludic discourses. A conclusion considers these implications and explains whyRenaissance thinkers might have chosen a ludic mode of imitative worship—God’s grace and creation are themselves forms of play.
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Miller, Douglas W. (Douglas William). "Humanism and the artist Raphael: a view of renaissance history through his humanist accomplishments." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc798187/.
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The thesis advances the name of Raphael Santi, the High Renaissance artist, to be included among the famous and highly esteemed Humanists of the Renaissance period. While the artistic creativity of the Renaissance is widely recognized, the creators have traditionally been viewed as mere craftsmen. In the case of Raphael Santi, his skills as a painter have proven to be a timeless medium for the immortalizing of the elevated thinking and turbulent challenges of the time period. His interests outside of painting, including archaeology and architecture, also offer strong testimony of his Humanist background and pursuits.
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El-Hanany, Efrat. "Beating the devil : images of the Madonna del Soccorso in Italian Renaissance art /." [Bloomington, Ind.] : Indiana University, 2006. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3230546.
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Remond, Jaya Marie-Paule. "The Kunstbüchlein: Printed Artists' Manuals and the Transmission of Craft in Renaissance Germany." Thesis, Harvard University, 2014. http://dissertations.umi.com/gsas.harvard:11676.
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The dissertation studies sixteenth-century German artists' manuals (Kunstbüchlein), a new kind of book that addresses certain types of artistic practices. The Kunstbüchlein testify to and shape transformations of knowledge in early modern Europe. Disseminating practical knowledge in printed form, they endowed craft know-how with a form of authority until then reserved for the liberal arts. They aimed also to reconcile theoretical and practical knowledge, what Albrecht Dürer (the crucial forerunner to the authors of the Kunstbüchlein) termed respectively Kunst and Brauch. Authors Sebald Beham, Heinrich Voghterr, Heinrich Lautensack, and Erhard Schön sought to provide accessible, useful knowledge. Focused on a limited set of topics, they pretended to be closer to practice and to respond more effectively to the needs of their apprentices than Dürer and others in their publications. In fact, the Kunstbüchlein did not mediate Brauch, but show instead what their authors understood Brauch to be. Emphasizing the hands-on acquisition of knowledge through looking, reading, and doing, the Kunstbüchlein placed the printed image, whether as schematic diagram or finished illustration, at the core of the didactic process.History of Art and Architecture
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Mariani, Irene. "Vespucci family in context : art patrons in late fifteenth-century Florence." Thesis, University of Edinburgh, 2015. http://hdl.handle.net/1842/15740.
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The study of Florentine artistic patronage has attracted several approaches over the last three decades, including the exploration of patron-‐client structures and how the use of art in private and public spheres contributed to shape families’s identity. Building on past research, this work focuses on the art patronage of a prominent, yet overlooked, family, the Vespucci, to whom Amerigo, the navigator who reached the coasts of America in the late fifteenth century, belonged. Although the family’s importance was achieved through a synergy of political, religious and intellectual forces, attention is given to the Vespucci’s engagement with the arts and their key contribution to Florence’s humanistic culture between the years 1470-1500. The family’s houses and private chapels are analysed, and three artists, Botticelli, Ghirlandaio and Piero di Cosimo, considered. Combining history, art history, and archival resources, new evidence and interpretations are advanced to ascribe selected artworks - controversially believed to be Vespucci commissions - to the private patronage of this Florentine family. Examining the Vespucci’s artistic taste in private and public settings, whilst attempting a reconstruction of partially lost painted commissions, deepens comprehension on the role that domestic and social life played in the creation of art and culture; the family’s force in shaping spaces; and the practice of buying, commissioning, and displaying as a means of signifying wealth, increasing status, and establishing identity. Power seekers, the Vespucci entered the Medici intellectual circles through which they created chains of friendship with prominent families inside and outside of Florence. As questions about shared artistic tastes and the paradigmatic role of the Medici artistic patronage have been the focus of scholarly enquiry, this study of the Vespucci provides an insight into the family’s spreading of new ideas and its interaction with the development of the visual arts. Investigation into the Vespucci’s breadth of interests helps to reframe the current knowledge of Florentine cultural exchanges and to contextualise the family’s influence beyond the geographical discoveries it has been exclusively associated with.
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Wolken, Christine Chiorian. "Beauty, Power, Propaganda, and Celebration: Profiling Women in Sixteenth-Century Italian Commemorative Medals." Case Western Reserve University School of Graduate Studies / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=case1339555478.
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Woodall, Dena Marie. "SHARING SPACE: DOUBLE PORTRAITURE IN RENAISSANCE ITALY." online version, 2008. http://rave.ohiolink.edu/etdc/view.cgi?acc%5Fnum=case1214411123.
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DiMarzo, Michelle. "With a Merchant's Eye: The Mecenatismo of Paolo Cassotti." Master's thesis, Temple University Libraries, 2010. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/89816.
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Art HistoryM.A.
This thesis examines the patronage strategies of Paolo Cassotti, a wealthy wool merchant living in Venetian-dominated Bergamo in the early Cinquecento. Cassotti challenged the rigid class structure of Bergamasque society, first through his conspicuous artistic and architectural patronage within the city walls, and then by constructing a suburban villa: the Villa Zogna, a graceful example of early Renaissance architecture that was unique in Bergamo. In 1512 he hired a local artist, Andrea Previtali, who had trained with Giovanni Bellini in Venice, to adorn the villa with a fresco cycle depicting the mechanical or practical arts. This thesis explores the ways in which Paolo Cassotti used Villa Zogna and its fresco cycle to shape a positive representation of himself and his fellow merchants as part of the foundation of an ordered, stable society, thereby accomplishing visually what he could not do socially.
Temple University--Theses
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Nalezyty, Susan. "Il collezionismo poetico: Cardinal Pietro Bembo and the Formation of Collecting Practices in Venice and Rome in the Early Sixteenth-Century." Diss., Temple University Libraries, 2011. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/109833.
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Art HistoryPh.D.
Cardinal Pietro Bembo's accomplishments as a poet, linguist, philologist, and historian are well known, but his activities as an art collector have been comparatively little studied. In his writing, he directed his attention to the past via texts--Ciceronean Latin and Petrarchan Italian--for their potential to transform present and future ideas. His assembly of antiquities and contemporary art served an intermediary function parallel to his study of texts. In this dissertation I investigate Bembo as an agent of cultural exchange by offering a reconstruction of his art collection and, in so doing, access his thinking in a way not yet accomplished in previous work on this writer. Chapter One offers a historiographic overview of my topic and collecting as a subject of art historical study. Chapter Two maps the competition and overlapping interests of collectors who bought from Bembo's heirs. Chapter Three calls upon anthropological methodology for treating the study of material culture and applies it to Bembo's mission as a collector. Chapter Four concludes with a statistical analysis of subjects and object types to which Bembo was drawn. In the extensive Object Catalog individual works are examined in conjunction with one another and considered for what they reveal about Bembo's theoretical strategy. Appendix A is a timeline outlining Bembo's life. Appendix B is a chronologically ordered selection of accounts describing Bembo as a collector and descriptions of his collection and his properties. Appendix C is a Bembo family tree. Appendix D presents by location known repositories for traced objects that can be connected to Bembo's collection. The recovery of Pietro Bembo as a collector illustrates that his wide-ranging ambitions were intertwined. His museum was not a place fixed in geography but, rather, a dynamic mechanism for transmitting the analytic power and poetic potential he located in the visual.
Temple University--Theses
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Tamboer, Kimberly Jean. "Artistic Achievements of Convent Women in Renaissance Italy: with case studies in Venice and Prato." Master's thesis, Temple University Libraries, 2015. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/327335.
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Art HistoryM.A.
This thesis evaluates the artistic contributions of convent women in Renaissance Italy during the period c. 1450-1550 with individual case studies in Venice and Prato. As the cost of the traditional marriage dowry inflated markedly over the course of the fifteenth century, an increasing number of girls from affluent family backgrounds were sent to the convent in an effort to spare their families the financial burden of marrying them off. Convent vocations were not only financially convenient for families with daughters but offered a socially respectable alternative to marriage that many came to rely upon over the course of the latter fifteenth and sixteenth centuries. The heightened presence of highborn girls in Italian convents seems to correspond with a concurrent development in female monastic artistic production. This point will be demonstrated in my study through analysis of two objects: the illustrated convent chronicle of Santa Maria delle Vergini (c. 1523), now in the Museo Correr in Venice and the illustrated frontispiece of Beatrice del Sera's convent play Amor di virtù (1555), preserved in the Biblioteca Riccardiana in Florence. Both of the considered works complement a text also written by convent women during the same period that demonstrate their knowledge of historic and current events, in addition to contemporaneous developments in the visual arts. The corresponding texts will be examined in a supporting manner to aid in interpreting the subject matter of the illustrations. Subsequent to identifying the pictorial content of these illustrations, I will elucidate how the convent artists successfully assert a female identity through their respective visual representations, and determine what specific type of identity they were motivated to promote.
Temple University--Theses
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Howard, Rebecca Marie. "Movements of the Mind: Beyond the Mimetic Likeness in Early Modern Italy." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1492175533714909.
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Popoviciu, Laura. "Between taste and historiography : writing about early Renaissance works of art in Venice and Florence (1550-1800)." Thesis, School of Advanced Study, University of London, 2014. http://sas-space.sas.ac.uk/6353/.
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My dissertation is an investigation of how early Renaissance paintings from Venice and Florence were discussed and appraised by authors and collectors writing in these cities between 1550 and 1800. The variety of source material I have consulted has enabled me to assess and to compare the different paths pursued by Venetian and Florentine writers, the type of question they addressed in their analyses of early works of art and, most importantly, their approaches to the re-evaluation of the art of the past. Among the types of writing on art I explore are guidebooks, biographies of artists, didactic poems, artistic dialogues, dictionaries and letters, paying particular attention in these different genres to passages about artists from Guariento to Giorgione in Venice and from Cimabue to Raphael in Florence. By focusing, within this framework, on primary sources and documents, as well as on the influence of art historical literature on the activity of collecting illustrated by the cases of the Venetian Giovanni Maria Sasso and the Florentine Francesco Maria Niccolò Gabburri, I show that two principal approaches to writing about the past emerged during this period: the first, adopted by many Venetian authors, involved the aesthetic evaluation of early Renaissance works of art, often in comparison to later developments; the second, more frequent among Florentine writers, tended to document these works and place them in their historical context, without necessarily making artistic judgements about them. A parallel analysis of these two approaches offers a twofold perspective on how writers and collectors engaged with early Renaissance art from the sixteenth to the eighteenth century.
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Smithers, Tamara. "Memorializing the Masters: Renaissance Tombs for Artists and the Cults of Raphael and Michelangelo." Diss., Temple University Libraries, 2012. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/198573.
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Art HistoryPh.D.
In this study, I argue that the cult of the artist centered on memorial making. From the Quattrocento through the Seicento, the growth in the size and number of memorials for artists parallels the changes that took place regarding the social class, professional position, and economic privilege of practitioners of the three main visual arts, painting, sculpture, and architecture. Similar to portraits, self-portraits, personal emblems, and signatures, tomb effigies and epigraphs were a type of construction of identity that articulated similar notions, serving as a form of popular praise and as a way to preserve one's memory for posterity. Moreover, tombs for artists existed in the public sphere on a grand scale, reaching larger audiences and thus having a greater cultural impact. Additionally, in tandem with contemporary art theory, tomb making became a tangible outlet for the paragon of the arts and for comparison against each other. The funeral ceremony functioned not only as a communal display of local pride but it also served as a vehicle for constructing artist-patron relationships and a way to promote the profession. The faculty to fashion artistic ties through the public spectacle of the funeral and the permanent medium of the memorial proved to be particularly essential for the newly formed art academies in regard to group identity and professional bonding. Publicizing the unification of the three arts was a key concern for the academies, especially in regard to decorating communal burial sites and devising group insignia. The display of emblematic imagery in addition to the erection of inscriptions that link the artist to his master on the tomb memorial became a palpable way to formulate an artistic pedigree for that particular artist and for that associated community of artists. The early art companies in central Italy--I Virtuosi al Pantheon in the 1540s in Rome, the Accademia del Disegno in the 1560s in Florence, and the Accademia di San Luca in the 1590s in Rome--were founded with the intention to properly bury their members. Moreover, for members, establishing ties to Raphael and Michelangelo, who received unprecedented burials, were hailed as symbolic figureheads for the academies, and were venerated as "artistic saints," lies at the center of sixteenth-century memorial making for artists. For some in the profession, as was the case for the followers of Raphael, being buried near their capomaestro solidified real or desired connections. The display of what was believed to be Raphael's skull in the seventeenth-century Roman Academy exhibits the new regard for the artist. The physical being of the artist came to be an object charged with meaning, similar to a holy relic, bringing new meaning to the concept of the "divine artist." For others, viewing the miracle of the unmarred corpse of Michelangelo, their padre delle tre arti, upon the opening of his coffin after it arrived in Florence, left a lasting impression. By exploring the panegyric following of Raphael and Michelangelo with a focus on tomb memorials, this dissertation explores what is meant by the phrase the "cult of the artist," especially in relation to these two masters. In doing so, this study synthesizes and weaves together otherwise disparate sources in order to elucidate a better understanding of the idea of the artist during the Early Modern period in Italy. As it proves, honoring the artist through the creation of memorials was the principal way to publicly pay tribute to those in the trade and provided a new type of artistic camaraderie.
Temple University--Theses
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Silberstein, Edward. "And Moses Smote the Rock: The Reemergence of Water in Landscape Painting In Late Medieval and Renaissance Western Europe." University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1288378722.
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YELLIG, CATHERINE L. "RETHINKING THE RENAISSANCE COURTESAN: CONTEMPORARY INTERPRETATION OF THREE PAINTINGS BY TITIAN (TIZIANO VECELLIO, c 1485-1576)." University of Cincinnati / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1178629291.
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Corry, Maya. "Masculinity and spirituality in Renaissance Milan : the role of the beautiful body in the art of Leonardo da Vinci and Leonardeschi." Thesis, University of Oxford, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.669816.
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Baydova, Anna. "Le rôle des peintres dans l'illustration des livres imprimés à Paris, 1530-1580." Thesis, Paris Sciences et Lettres (ComUE), 2017. http://www.theses.fr/2017PSLEP047.
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Principal centre d’imprimerie du XVIe siècle, rassemblant les auteurs et les forces artistiques du royaume, Paris offre un échantillon parfait pour l’étude de l’illustration à la Renaissance. De 1530 à 1580, la typographie parisienne intègre des influences issues des éditions humanistes italiennes et des particularités artistiques de l’école de Fontainebleau. La participation des peintres à la préparation des illustrations est un fait clairement établi : les noms des dessinateurs sont parfois cités sur les pages de titre et dans le texte des éditions. Cependant, les modalités de leur collaboration avec les différents métiers du livre restent à préciser. Soumis à la commande des éditeurs et au contrôle des auteurs, contraints par la technique de l’élaboration du livre imprimé, les illustrateurs étaient amenés à s’adaptent à ce nouveau médium. Par ailleurs, la diffusion massive des images imprimées a, elle-même, bouleversé les pratiques artistiques. Associant l’étude des œuvres et la recherche des témoignages d’archives, cette étude se retrouve à l’intersection de l’histoire de l’art et de l’histoire du livre. Cette approche croisée permet de déterminer plus précisément la place des peintres dans le monde du livre imprimé parisien et d’analyser en détail leurs réseaux professionnels. La reconstitution des corpus d’illustrations permet l’étude plus précise d’un certain nombre d’artistes particulièrement actifs dans ce domaine, tels que Jean Cousin père, Baptiste Pellerin, Geoffroy Ballain et Charles JourdainParis presents a prefect example for the study of the book illustration as the main center of printing in the 16th century and where the prolific authors and the artistic forces of the Kingdom concentrated. From 1530 to 1580, Parisian typography integrated the influence of Italian humanist editions and the artistic particularities of the Fontainebleau school. The participation of painters in the preparation of illustrations is a well-known fact: we can sometimes find their names on the title pages and in the texts of books. However, the terms of their collaboration with other book printing trades are still to be clarified. Dependent on book publishers’ command, subjected to the authors’ control and limited by the book printing techniques, the illustrators had to adjust to this new medium. Besides, the massive diffusion of printed images profoundly changed artistic practices. Combining the study of artworks and archives, this research is at the junction of art history and book history. This complex approach highlights the place of painters in the world of the Parisian book printing and allows an analysis of their professional networks. The reconstruction of illustrations corpuses enables the study of the career of some Parisian artists who were particularly active in this field, such as Jean Cousin the Elder, Baptiste Pellerin, Geoffroy Ballain and Charles Jourdain
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Misery, Nicolas. "Art, culture et société à Parme pendant la première moitié du Cinquecento : les portraits d'homme de Parmigianino (1503 -1540)." Thesis, Lyon 2, 2015. http://www.theses.fr/2015LYO20104.
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La thèse est consacrée à l’œuvre de portraitiste de Parmigianino au cours des deux périodes parmesanes de sa carrière, depuis sa naissance en 1503 jusqu’à son départ pour Rome en 1524, puis de 1531 à 1540, date de son décès. L’objet de la recherche est d’élucider les significations propres à chacune des effigies du corpus et d’analyser les processus plastiques et sémantiques par lesquels le peintre a élaboré les discours figuratifs que constituent ses portraits, dans le contexte de leur commande, production et réception. A cette fin, on a opté pour une approche pluridisciplinaire. La thèse débute par une étude de l’histoire artistique de Parme de 1500 à 1540 et une analyse des pratiques du portrait dans cette ville, au regard de ses nombreuses relations avec d’autres centres culturels et artistiques (Milan, Venise, Bologne, Florence et Rome). L’histoire sociale et politique de Parme pendant la première moitié du Cinquecento est un autre sujet de la recherche. Son objet est l’articulation des transformations institutionnelles au sein de la comune, les conquêtes par plusieurs pouvoirs étrangers entre 1499 et 1520 jusqu’à la création du duché de Parme et Piacenza par Paul III en 1545 avec le marché et les pratiques du portrait. Après cette étude du contexte, chacun des portraits de Parmigianino est examiné de façon approfondie, à travers une approche trans-disciplinaire qui associe histoire de l’art, histoire culturelle (littérature, du livre et de l’édition, emblématique, traditions de la rhétorique, débats linguistiques), histoire sociale et politiqueThe dissertation deals with Parmigianino’s activity as a portraitist during the two periods of time he spent in his native Parma, between 1503 and 1524 and then between 1531 and 1540. Its aim is to analyze the painter’s male portraits in particular, that is to to clarify their specific significances and, at the same time, to elucidate the visual and semantic processes through which Parmigianino elaborated the figurative discourses that his portraits convey, in the artistic, cultural, social and political context of their creation. To reach this goal, several methodological approaches are used. The disseration begins with a close study of the artistic history of Parma between 1500 and 1540 and an analysis of the traditions related to portraiture in the city, with regard to its many cultural and political relations to other regions and states (Milan, Venice, Bologna, Florence and Rome). The political history of Parma during the first half of the Cinquencento is an other field of research. Its purpose is to articulate the many institutionnal transformations of the comune, the conquest of Parma by several foreign powers between 1499 and 1520, until the creation of the Duchy of Parma and Piacenza by Pope Paul III, with the market and practices of portraiture. After this close examination of the context, Parmigianino’s portraits are analyzed through a trans-disciplinary approach that deals with art history, cultural history (literature, history of the book, emblems, traditions of rethoric, linguistic debates), social and political history)
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De, Majo Ginevra. "La notion de Renaissance en France : genèse, débats, figures (du début du XXe siècle à André Chastel)." Thesis, Paris 4, 2009. http://www.theses.fr/2009PA040173.
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Après avoir fait le point sur l’état des recherches dans l’Histoire de l’histoire de l’art, la thèse interroge la notion de Renaissance italienne à partir de l’esthétique classique (Quatremère) et de la réaction romantique en faveur du gothique (Lassus, Viollet-le-Duc, Didron) et des primitifs (Rio). L’auteur rapproche la définition de Renaissance consacrée par Michelet au débat contemporain entre tenants du gothique et de la Renaissance. On souligne en même temps, l’émergence de nouvelles données liées à la race et au milieu dans le débat sur la Renaissance (Beulé, Ramée, Viollet-le-Duc) qui insiste sur son origine latine et méditerranéenne. En suite sont approfondies la vision de Taine (fondée sur l’exaltation du corps, de la forme et du paganisme), celle de Renan et de Gebhart (qui placent les origines de la Renaissance au Moyen âge chrétien), et elles sont rapportée au nouveau climat philosophique et idéologique de la seconde moitié du siècle. Un nouveau pan du débat s’ouvre avec les doctrines de Courajod, qui place l’origine de la Renaissance en France au XIVe siècle, et de Müntz tenant de l’esthétique classique, partisan de l’origine italienne et d’une vision de la Renaissance en tant qu’ « âge d’or » de l’humanité. La dernière partie de la thèse suit le développement du débat au XXe siècle, et retrace la ‘victoire’ des tenants du Moyen âge (Mâle, Lemonnier, Michel, Vitry, contre Louis Dimier), la crise de l’histoire de la culture reléguée au second plan par le formalisme (Bertaux, Hourticq, Faure), la définition de Renaissance en tant que prolongement du Moyen âge de Focillon, pour conclure avec la ‘réforme’ de l’histoire de la culture opérée par André Chastel et sa nouvelle définition de RenaissanceAfter an update on the state of research on the history of History of Art, the thesis questions the concept of the Italian Renaissance from the classical aesthetics (Quatremère) and the romantic reaction in favor of Gothic (Lassus, Viollet-le-Duc, Didron) and Primitives (Rio). The author makes a comparison between the definition of Renaissance given by Michelet and the contemporary debate between supporters of Gothic and supporters of Renaissance. It is noted -at the same time-, the emergence of new data related to race and “milieu” in the debate on the Renaissance (Beulé, Ramée, Viollet-le-Duc) who insists on his Latin and Mediterranean origin. Moreover, the thesis thoroughly analyzes the vision of Taine (based on the exaltation of the body, shape and paganism), Renan and Gebhart (who place the origins of the Renaissance to the Christian Middle Ages) according to the new philosophical and ideological climate of the second half of the century. A new side of the debate opens with the doctrines of Courajod, who places the origin of the Renaissance in France in the fourteenth century, and the theory of Müntz supporter of the classical aesthetics and advocate of Italian origin and the definition of Renaissance as a "Golden Age" of mankind. The last part of the thesis follows the development of the debate in the twentieth century, and traces the 'victory' of the supporters of the Middle Ages, (Mâle, Lemonnier, André Michel, Vitry, against Louis Dimier), the crisis in the history of culture overshadowed by the formalism (Bertaux, Hourtiq Faure), the definition of Renaissance as an extension of the Middle Ages by Focillon, concluding with the 'reform' of the history of culture made by André Chastel and his new definition of “Renaissance”
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Helfenstein, Eva. "The Goblet of Philip the Good. Precious Vessels at the Court of Burgundy." Thesis, Harvard University, 2012. http://dissertations.umi.com/gsas.harvard:10480.
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Vessels made of precious materials such as gold, silver and hardstone once filled the treasuries of late medieval rulers and were counted among their most valuable and representative possessions. Only a minimal fraction survived until today; the large majority went to the melting pot. The Burgundian Court Goblet (Vienna, Kunsthistorisches Museum), a rock-crystal cup set in gold and adorned with gemstones, is one of the rare surviving examples of a precious vessel from a fifteenth-century secular context. It also happens to be the most elaborate crystal vessel listed in the Inventory of Philip the Good, duke of Burgundy (1419-1467). My dissertation provides the first in-depth study of the object, using the concept of the iconography of materials to elucidate the meaning conferred through the choice of materials and the exquisite level of workmanship. I argue that the Burgundian Court Goblet is a prime example for a group of artworks in the form of vessels, which were made for display and functioned as means of representation and status symbols. By combining evidence from the analysis of objects, written documents and visual sources, it is possible to reconstruct the use of precious vessels in the service of the table and as objects of display arranged on a tiered display buffet, the dressoir. My focus lies on the main types of vessels mentioned in the Inventory of Philip the Good. Based on the terminology used in the inventory, I reconstruct the different categories of precious vessels, their form, use and function. Detailed sources relating to the ceremonial of the Burgundian court dring the fifteenth century, such as the Honneurs de la Cour by Eleonore de Poitiers and the Estat de la maison de Bourgogne, written by the steward Olivier de la Marche, allow to trace the practical and symbolic use of vessels. By bringing together a large array of objects, visual sources and texts relating to the use and function of precious vessels in a secular context, my work provides a much needed study of a group of objects which enjoyed a highly privileged status in their time.History of Art and Architecture
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GRATSON, SCOTT D. "A STRATIFICATION OF DEATH IN THE NORTHERN RENAISSANCE: A RECONSIDERATION OF THE CADAVER TOMBS OF ENGLAND AND GERMANY." Diss., Temple University Libraries, 2019. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/587512.
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Art HistoryPh.D.
This analysis is on the function of cadaver or transi tombs in the south of England and Germany from the fifteenth to early sixteenth centuries, at particular moments when theological and cultural shifts related to Church reforms and the Reformation were tethered to new considerations about death, memorial, and changing concepts of the soul and matter. The study begins with a focus on the tombs of Henry Chichele (1364–1443) in Canterbury Cathedral in Canterbury, England, and Alice de la Pole (1404–1475) of Saint Mary’s Church in Ewelme, Oxfordshire, England. Additionally, the memorial relief of Ulrich Fugger (1441–1510) in Saint Anna's Church in Augsburg, Germany, acts as a bridge to Hans Holbein’s painted Dead Christ in the Tomb (1521) in the Kuntsmuseum Basel, in which Christ is simultaneously portrayed as an effigy, transi, and resurrected body. This was also an extended period when notions of visuality changed, along with preferences for different media and pressures on images and objects. As the demands of verisimilitude and discourses about presence and matter changed, media progressed from three-dimensional sculpture and carved relief to oil paint on wood. Transi tombs embodied this trajectory, altering uses and impressions of materials as they progressed from metal to stone to relief carving and paint. Transi tombs, in particular, structured time as a malleable construct, through the incorporation of varying images and their configuration in different visual strata and degrees of vividness and decay. By merging motifs of the dead with the Resurrected Christ, the transi tomb phenomenon situated death in relation to the viewer’s experience of mortality, memorial, and remembrance. Through these changing images and media, public perception of death was inextricably transformed, coinciding with the advent of the Reformation.
Temple University--Theses
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Marianacci, Caitlyn D. "Old Masterpieces, New Mistress-pieces: Cindy Sherman's Reinterpretations of Renaissance Portraits of Women." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/840.
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This thesis examines a selection of eight photographs in the History Portraits series by American photographer, Cindy Sherman, produced from 1989 to 1990. The photographs are based on Renaissance paintings of biblical and secular women painted by old master artists such as Leonardo da Vinci, Sandro Botticelli, and Raphael. Sherman focused on the female types of Biblical mother and femme fatale, as well as wives and models. These types are defined in their relation to men and are depicted by men. In Sherman’s reinterpretations of their portraits, she retells the stories of these women in ways that reaffirm their independence and power that have been shrouded in a history told and controlled by men. With herself as her model, she altered aspects of the images, using the technique of caricature for humor as well as critique. Sherman subverts the idealization of the Renaissance portraits of women by exaggerating features and eliminating aspects of the original portraits to reassert the women’s individuality.
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Boswell, Schiefer Ellen W. "Miracle at Monte Oliveto Renaissance Benedictine Ideals and Humanist Pictorial Ideals in Perspective." University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1337363195.
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Perina, Hugo. "L’orgue italien de la Renaissance (1400-1550). Commandes artistiques, savoirs pratiques et usages liturgiques." Thesis, Paris Sciences et Lettres (ComUE), 2018. http://www.theses.fr/2018PSLEH054.
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Cette thèse propose une approche de l’orgue italien de la Renaissance qui croise les aspects sociaux, techniques et culturels de l’orgue afin de déterminer les spécificités des pratiques liées à l’orgue, des années 1430 jusqu’à la moitié du XVIe siècle. L’aménagement de deux tribunes d’orgues par Brunelleschi dans la cathédrale de Florence dans les années 1430 renouvelle radicalement la façon de concevoir la place de l’orgue au sens le plus concret (dans l’espace liturgique), mais aussi dans le champ symbolique. Ce changement de position demande aux facteurs d’adapter leurs techniques. Ces innovations sont autant de critères constitutifs de l’orgue dit a la moderna. Il est possible de suivre la diffusion des nouveaux canons esthétiques en Italie grâce aux déplacements des individus liés à l’orgue (artisans et commanditaires), à partir de trois centres principaux : la Toscane, la Vénétie et la Lombardie. La compilation de contrats de commande ou d’embauche prend la forme d’une base de données d’environ six cent cinquante entrées. En plus de fournir des informations techniques, ce corpus documentaire permet d’étudier le processus de professionnalisation des organistes et des facteurs, en rapport constant avec leurs employeurs et mécènes. L’aspect communautaire qui ressort des commandes est resitué dans le contexte plus large des relations économiques et diplomatiques entre les différents États italiens. La figure du commanditaire apparaît alors comme centrale dans la diffusion de l’orgue a la moderna et des pratiques professionnelles qui l’accompagnentThis thesis offers a social, technical and cultural study of the Renaissance Italian organ. It aims to determine the specificities of practices related to the organ from the 1430s to the mid XVIth century. Brunelleschi’s building of two organ galleries in the cathedral of Florence marks a profound shift in the conception of the organ’s place—a shift that is both spatial (it affects the space of the liturgy) and symbolic. Such a displacement made it necessary for organ builders to adapt their craft. Those innovations are essential characteristics of the organ a la moderna. The diffusion of new aesthetic criteria by craftsmen and their employers can be traced back to three main regions: Tuscany, Veneto and Lombardy. A compilation of buying and hiring agreements is structured as a database of around six hundred and fifty entries. In addition to providing technical data, this corpus makes it possible to study the progressive professionalization of organists and organ builders, in relation to their employers and patrons. The community involved in the process of building the organs is also put back in the broader context of the economic and diplomatic relations between Italian states. The employer therefore becomes a key figure in the diffusion of the organ a la moderna and the professional skills and habits that it involves
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Cantu, Jennifer A. "Paolo Veronese’s Annunciations." Ohio University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1524730134754678.
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Lafille, Pauline. "« Composizioni delle guerre e battaglie » : enquête sur la scène de bataille dans la peinture italienne du XVIe siècle." Thesis, Paris Sciences et Lettres (ComUE), 2017. http://www.theses.fr/2017PSLEP058.
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La thèse étudie les enjeux politiques et artistiques de la scène de bataille dans la peinture monumentale au XVIe siècle en Italie, avant que la représentation de la guerre ne présente une distinction entre peinture d’histoire pour les faits anciens et peinture historique pour les faits contemporains, selon les catégories artistiques qui s’affirment au cours du XVIIe siècle. C’est pourquoi notre étude ne propose pas une histoire de la scène de bataille mais une enquête au sujet de compositions singulières, sur les problématiques politiques, idéologiques, esthétiques et culturelles qui les traversent. Si l’hétérogénéité artistique du corpus et la fragmentation politique de la péninsule ont favorisé des approches monographiques, l’apparition de contextes historiques et thématiques, où les scènes de bataille s’inscrivent dans des ambitions analogues a conduit à adopter une perspective comparée, où les œuvres sont considérées en dialogue – deux à deux, par cycle ou par typologie – autour d’enjeux politiques et formels communs. Après 1500, plusieurs commandes majeures passées par les principales puissances italiennes donnent une monumentalité nouvelle à la bataille dans l’iconographie politique. Dans le contexte d’urgence des guerres d’Italie, la peinture de l’histoire des faits passés est investie de l’espoir d’une efficace politique, à laquelle l’évolution mimétique et expressive dans laquelle est engagée la peinture italienne peut répondre. Les batailles inachevées de Léonard et Michel-Ange adoptent un traitement rhétorique de l’histoire, qui engage le spectateur dans une narration qui se déploie autour des émotions des personnages en action. Par le traitement des figures et l’intelligence de la composition d’ensemble, les batailles de Léonard de Vinci, Michel-Ange puis celles de Raphaël et Titien deviennent des exemples paradigmatiques, qui marquent les prémices de la scène de bataille comme forme politico-artistique, mettant la noblesse et l’ambition de l’art de peindre au service de l’expression du pouvoir. Les compositions ponctuelles du début du XVIe siècle laissent place dans la seconde moitié du siècle à une extension du thème militaire dans les décors palatiaux. L’orientation du programme iconographique détermine alors les problématiques politiques et iconographiques des peintures. Dans les cycles dynastiques, la corrélation entre la généalogie et l’histoire conduit à associer étroitement le récit de l’événement à l’action du personnage ; les dispositifs d’héroïsation individuelle coexistent alors avec les procédés d’historicisation de l’épisode. Dans les décors d’État, la multiplication des scènes de bataille affiche la puissance militaire comme fondement de la souveraineté de l’État moderne. À Florence et à Venise, la représentation de la guerre prend un caractère encyclopédique, venu de l’humanisme militaire, qui témoigne de la centralité de la maîtrise de ces savoirs pour le gouvernement de l’État. Un dernier temps, consacré aux représentations monumentales de la bataille de Lépante, à Venise et à Rome, envisage l’émergence de problématiques spécifiques à la représentation de la bataille contemporaine. L’actualité de l’événement impose une exigence de documentation poussée dans la représentation historique de son déroulement. Les peintres proposent alors des expérimentations dans le langage artistique employé pour figurer la bataille et introduisent parfois un dialogue avec les formes descriptives ou schématiques de représentation de la guerre, pour répondre à cette ambition documentaire. Les scènes de batailles du XVIe siècle italien s’inscrivent ainsi au croisement de l’évolution de la culture de la guerre de la Renaissance, marquée par le début de la « Révolution militaire », et de celle de la théorie artistique, où apparaît progressivement une rationalisation de la manière de raconter l’histoireThis thesis focuses on the political and artistic dimensions of battle scenes in 16th-century Italian monumental painting, at a time when the depiction of war had yet to develop a distinction between two forms of the depiction of history, history painting treating past events and historical painting focused on contemporary events, according to artistic categories established during the 17th century. Thus this work does not offer a history of the battle scene itself, but an enquiry on specific compositions, trying to ascertain the political, ideological, aesthetic and cultural issues that inform them. Although the artistic heterogeneity of the corpus and the political fragmentation of the Italian peninsula have encouraged previous studies to follow a monographical approach, the apparition of historically and thematically similar contexts in which various battle scenes answer analogous ambitions has led us to adopt a comparative methodology, which attempts to develop a dialogue between pairs, series or types of works, linked by common political and formal objectives. Starting from 1500, a series of major orders placed by the main political powers in Italy embued battle scenes with a new monumental dimension within political iconography. In the urgency of the context of the Italian Wars, the depiction of past historical events was invested with the hope of real political efficacy, to which the mimetic and expressive evolution of Italian painting was now able to respond. The battle scenes left unfinished by Leonardo and Michelangelo adopted a rhetorical treatment of history which involved the viewer into a narrative centred around the emotions of the characters during the action. By virtue of their treatment of figures and their complex narrative articulation, Leonardo’s and Michelangelo’s battle scenes, and later Raphaël’s and Titian’s, acquired paradigmatic status, and paved the way for the establishment of the battle scene as a political-aesthetical form, making the nobility and ambition of artistic endeavour subservient to the expression of power. Sporadic compositions of the beginning of the 16th century were followed, during the second half of that century, by an extension of military themes in palace decoration. The political and iconographic objectives of paintings was therefore determined by the orientation of the iconographic programme of the whole room. In dynastic painting cycles, the correlation between genealogy and history led the artist to closely associate the depiction of the event to the actions of the character, so that devices of individual glorification coexisted with devices historicizing the episode. In state ornamentation, the multiplication of battle scenes showcased military might as the basis for the sovereignty of the modern State. In Florence and Venice, the depiction of war received from military humanism an encyclopaedic dimension which illustrated the central role played by the mastery of these forms of knowledge in the administration of the State. The last part of this study, which focuses on the monumental representations of the Battle of Lepanto in Venice and Rome, describes the emergence of problems that are specific to the depiction of contemporary battles. The immediacy of the event demanded from the historical depiction of the unfolding of the event an advanced documentary quality. The artists had to develop new experiments in the aesthetic idiom used to represent the battle, sometimes in dialogue with more descriptive or schematic depictions of warfare. 16th-century Italian battle scenes thus find themselves at a crossroad between the evolution of warfare during the Renaissance, characterised by the beginnings of the « Military Revolution », and the evolution of aesthetic theory, defined by an increasing rationalisation in the way history is depicted
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Gyllenhaal, Martha. "Rembrandt's Artful Use of Statues and Casts: New Insights into His Studio Practices and Working Methods." Diss., Temple University Libraries, 2008. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/1474.
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Art HistoryPh.D.
Although Rembrandt van Rijn owned over eighty pieces of sculpture, studies regarding his use of the collection are in short supply and tend to be either formal, tracing the few images of sculpture in Rembrandt's oeuvre to those listed in his 1656 bankruptcy inventory, or else they refer to his use of classical sculpture in general terms as an inspiration for his history paintings. This study shifts emphasis from formal and iconographic issues to Rembrandt's studio practices and working methods. It examines his manipulation of the border between reality and illusion (what Ovid termed "the art that conceals art"): his effort to "incarnate" his sculptural sources by wrapping them in textiles and giving them the appearance of flesh. Seventeenth-century theory provides the foundation for this hypothesis: artists/theorists such as Karl van Mander, Peter Paul Rubens, and Philips Angel promoted the judicious use of sculpture and encouraged artists to transform its marmoreal surface into pliant flesh; Van Mander advised painters to make the thin garments of classical statues more appropriate for Northern paintings by wrapping them in woolen cloth; he also encouraged artists to "steal arms, legs, hands, and feet" from works of art and synthesize them into new creations. Esteemed precedents also support the hypothesis: recent studies of Cornelis Cornelius van Haarlem, Hendrick Goltzius, and Bartholomeus Spranger examined their use of Renaissance bronzes, an inexpensive and plentiful source that Rembrandt also seems to have tapped. Paragone, a popular debate in both Amsterdam and Leiden, is another facet of this study. Empirical observations reveal patterns in Rembrandt's use of sculpture: several etchings of his studio show busts adorned with hats or wrapped in fabric (a practice also described in a seventeenth-century poem about Rembrandt); a number of his head studies, genre, and history paintings suggest that he used busts of Roman emperors for models. The less subtle artistry of his students and his colleague Jan Lievens also exposes their use of clothed statues and thereby corroborates the hypothesis that Rembrandt's reliance on sculpture for models was more prevalent and artful (in the sense of covert) than has previously been noted.
Temple University--Theses
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BURZLAFF, MARY CAROLINE. "CHASTE SEXUAL WARRIOR, CIVIC HEROINE, AND FEMME FATALE: THREE VIEWS OF JUDITH IN ITALIAN RENAISSANCE AND BAROQUE ART." University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1147989193.
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Kordinak, Jacqueline T. "Saint Peter's Needle: The Vatican Obelisk and Its Importance in Renaissance Rome." Ohio University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1375191561.
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Rodrigues, Andréia de Freitas. "De Marsilio Ficino a Albrecht Dürer considerações sobre a inspiração filosófica de “Melencolia I”." Universidade Federal de Juiz de Fora (UFJF), 2009. https://repositorio.ufjf.br/jspui/handle/ufjf/2768.
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O tema da melancolia tem sido fonte de atenção de filósofos, médicos, artistas, historiadores, pensadores de várias áreas do conhecimento, desde tempos imemoriais. Parte desse interesse se compreende pelo mistério que guarda sua própria definição, ambivalente e fascinante, que se refere à melancolia ora como um estado de desequilíbrio doentio, ora como pecado a ser punido, ora como estado da alma que exalta a genialidade. Na história das artes, a melancolia sempre determinou uma iconografia à parte, desde a antiguidade clássica. Este trabalho trata então, da melancolia abordada por um artista em particular, em uma época específica. Tendo como ponto essencial o estudo e a interpretação da gravura “Melencolia I”, de Albrecht Dürer, este trabalho privilegiará não apenas as características formais desta obra, mas as várias possibilidades e conexões que a mesma possui com o tempo e lugar onde foi produzida, principalmente a filosofia neoplatônica de Marsilio Ficino. Percorrendo além dos limites estreitos de uma leitura puramente formalista, a pesquisa considera a obra de arte como uma relação complexa e ativa aos acontecimentos da história circundante, pensando em sua análise iconográfica como um instrumento de reconstrução do indivíduo, do ambiente, da história geral.
The topic of melancholy has been a source of attention from philosophers, doctors, artists, historians, thinkers in various fields of knowledge, since time immemorial. Part of this interest to understand the mystery that keeps its own definition, ambivalent and fascinating, which is sometimes referred to melancholy as a state of imbalance sick, sometimes as sin to be punished either as a state that exalts the soul of genius. In the history of the arts, the melancholy always the part of an iconography from ancient classic. This work is then addressed by melancholy of an artist in particular, in a specific time. With the key point the study and interpretation of the engraving "Melencolia I", by Albrecht Dürer, this work focus not only the formal characteristics of this work, but the various possibilities and connections that it has the time and place where it was produced, mainly Neo-Platonist the philosophy of Marsilio Ficin. Traveling beyond the narrow confines of a purely formalist reading, the study considers the work of art as an active and complex relationship to the events surrounding the story, thinking about his iconographic analysis as a tool for reconstruction of the individual, the environment, the general history.
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Carter, Kathleen. "Uncovering Faces: the Removal of Discolored Varnish from Tudor Portraits." Scholarship @ Claremont, 2013. http://scholarship.claremont.edu/scripps_theses/178.
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A discussion of possible means by which the varnish of Master John's portrait of Katherine Parr (c.1545) might be conserved, providing historical context and a description of new conservation methods.
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Taylor, Chloë. "The aesthetics of sadism and masochism in Italian renaissance painting /." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79810.
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This thesis analyses selected paintings and aspects of life of the Italian Renaissance in terms of the aesthetic properties of sadistic and masochistic symptomatologies and creative production, as these have been explored by philosophers such as Michel Foucault, Roland Barthes, Marcel Henaff, and Gilles Deleuze. One question which arises from this analysis, and is considered in this thesis, is of the relation between sexual perversion and history, and in particular between experiences of violence, (dis)pleasure and desire, and historically specific forms of discourse and power, such as legislation on rape; myths and practices concerning marriage alliance; the depiction of such myths and practices in art; religion; and family structures. A second question which this thesis explores is the manners in which sadistic and masochistic artistic production function politically, to bolster pre-existing gender ideologies or to subvert them. Finally, this thesis considers the relation between sadism and masochism and visuality, both by bringing literary models of perversion to an interpretation of paintings, and by exploring the amenability of different genres of visual art to sadism and masochism respectively.
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Maxwell, Andrea Michelle Kibler. "The Message on the Walls: Discovering the Visual Sermon of the Brancacci Chapel." Kent State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=kent1429537658.
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Gekosky, Sandra J. "Luca Della Robbia and his Tin-Glazed Terracotta Sculptures." Ohio University / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1126821886.
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Wexler, Thomas. "Collective Expressions: The Barnes Foundation and Philadelphia." Bowling Green State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1383558977.
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LaManna, Kathleen. "Power and Nostalgia in Eras of Cultural Rebirth: The Timeless Allure of the Farnese Antinous." Scholarship @ Claremont, 2013. http://scholarship.claremont.edu/scripps_theses/176.
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Little did Hadrian know in 130 A.D. that when he deified his beloved departed Antinous, in order to provide a unifying symbol of worship for his diverse empire, that he was instead creating a lasting symbol of the antique world. This thesis examines the power of nostalgia and its successful use by two formidable men from different eras in Rome: The Emperor Hadrian and the extravagantly wealthy Renaissance merchant Agostino Chigi. Though separated by centuries, each man used the nostalgic allure of the beautiful youthful male figure of Antinous to gain power and influence in his own time and to leave a lasting impact on generations to come. Using the statue known as the Farnese Antinous I will show that these very different men were not so different after all: each understood the human tendency to romanticize the past, and each attempted to evoke a feeling of nostalgia for the past from those they sought to “conquer.” Hadrian used portraits of Antinous to unite an empire and cement his place in history; Agostino used one of those very same portraits in commissioned artworks by Raphael to earn his place among the nobility of his day, and to leave a lasting legacy for his descendants.