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Old Masters in New Colours
The study of the artworks of the Old Masters has long been the prerogative of art historians alone. Expertise and other art-historical methods can now make much greater use than ever before of the findings of the so-called exact sciences. These make it possible to acquire new knowledge about works of art of the past that is not obvious to our eyes. Imaging and instrumental methods for the study of works of art often allow us to literally “look into the painting”, below the surface of what we see, and observe the work in different areas of the invisible spectrum of electromagnetic radiation, for example. By using various research methods – with the necessary caution and awareness of the...
Michelangelo's Art of Devotion in the Age of Reform
In this volume, Emily A. Fenichel offers an in-depth investigation of the religious motivations behind Michelangelo's sculpture and graphic works in his late period. Taking the criticism of the Last Judgment as its point of departure, she argues that much of Michelangelo's late oeuvre was engaged in solving the religious and artistic problems presented by the Counter-Reformation. Buffeted by critiques of the Last Judgment, which claimed that he valued art over religion, Michelangelo searched for new religious iconographies and techniques both publicly and privately. Fenichel here suggests a new and different understanding of the artist in his late career. In contrast to the received view of Michelangelo as solitary, intractable, and temperamental, she brings a more nuanced characterization of the artist. The late Michelangelo, Fenichel demonstrates, was a man interested in collaboration, penance, meditation, and experimentation, which enabled his transformation into a new type of religious artist for a new era.
Michelangelo's Christian Mysticism
In this book, Sarah Rolfe Prodan examines the spiritual poetry of Michelangelo in light of three contexts: the Catholic Reformation movement, Renaissance Augustinianism, and the tradition of Italian religious devotion. Prodan combines a literary, historical, and biographical approach to analyze the mystical constructs and conceits in Michelangelo's poems, thereby deepening our understanding of the artist's spiritual life in the context of Catholic Reform in the mid-sixteenth century. Prodan also demonstrates how Michelangelo's poetry is part of an Augustinian tradition that emphasizes mystical and moral evolution of the self. Examining such elements of early modern devotion as prayer, lauda singing, and the contemplation of religious images, Prodan provides a unique perspective on the subtleties of Michelangelo's approach to life and to art. Throughout, Prodan argues that Michelangelo's art can be more deeply understood when considered together with his poetry, which points to a spirituality that deeply informed all of his production.
Michelangelo in the New Millennium
Michelangelo in the New Millennium presents six paired studies in dialogue with each other that offer new ways of looking at Michelangelo’s art as a series of social, creative, and emotional exchanges where artistic intention remains flexible; probe deeper into the artist’s formal borrowing and how it affects meaning regarding his early religious works; and consider the making and significance of his late papal painting projects commissioned by Paul III and Paul IV for chapels at the Vatican Palace. Contributors are: William E. Wallace, Joost Keizer, Eric R. Hupe, Emily Fenichel, Jonathan Kline, Erin Sutherland Minter, Margaret Kuntz, Tamara Smithers and Marcia B. Hall
Space, Image, and Reform in Early Modern Art
The essays in Space, Image, and Reform in Early Modern Art build on Marcia Hall’s seminal contributions in several categories crucial for Renaissance studies, especially the spatiality of the church interior, the altarpiece’s facture and affectivity, the notion of artistic style, and the controversy over images in the era of Counter Reform. Accruing the advantage of critical engagement with a single paradigm, this volume better assesses its applicability and range. The book works cumulatively to provide blocks of theoretical and empirical research on issues spanning the function and role of images in their contexts over two centuries. Relating Hall’s investigations of Renaissance art to new fields, Space, Image, and Reform expands the ideas at the center of her work further back in time, further afield, and deeper into familiar topics, thus achieving a cohesion not usually seen in edited volumes honoring a single scholar.
Emulating Antiquity
A revelatory account of the complex and evolving relationship of Renaissance architects to classical antiquity Focusing on the work of architects such as Brunelleschi, Bramante, Raphael, and Michelangelo, this extensively illustrated volume explores how the understanding of the antique changed over the course of the Renaissance. David Hemsoll reveals the ways in which significant differences in imitative strategy distinguished the period's leading architects from each other and argues for a more nuanced understanding of the widely accepted trope--first articulated by Giorgio Vasari in the 16th century--that Renaissance architecture evolved through a linear step-by-step assimilation of antiquity. Offering an in-depth examination of the complex, sometimes contradictory, and often contentious ways that Renaissance architects approached the antique, this meticulously researched study brings to life a cacophony of voices and opinions that have been lost in the simplified Vasarian narrative and presents a fresh and comprehensive account of Renaissance architecture in both Florence and Rome.
The Serpent and the Stylus
New essays that shed light on the shadowy figure of Piranesi
The Neapolitan Lives and Careers of Netherlandish Immigrant Painters (1575-1655)
The seventeenth century was a time of exceptional mobility for Netherlandish artists. This mobility had a profound impact on artistic developments, stimulating innovation and creativity in the Netherlands as well as abroad. Whereas most artists undertook a relatively short study trip, others decided to settle down and shape their life in a new environment. This study traces the integration process — as artists and as migrants in general — of Aert Mytens, Louis Finson, Abraham Vinck, Hendrick De Somer and Matthias Stom in Naples between 1575 and 1655. Departing from the idea that the experience of every migrant is specific to their background and skills, The Neapolitan Lives and Careers of Netherlandish Immigrant Painters (1575-1655) examines the challenges each of these five artists faced, the choices they made and the opportunities they grasped. The dynamics of art and society in Naples, the bustling capital of the Spanish viceroyalty, forms the context for their lives and careers.
