简介
Summary:
Publisher Summary 1
Starting in the 1490's, Italy passed through a phase of religious conflict, one that anticipated and ran parallel to the Reformations of northern Europe. A season of controversy put religious images newly under scrutiny, provoking radical investigations into their modes and traditions. Could they reliably convey sacred truth and power, and if so, how? Was the artist a transmitter or an interpreter, or both? Did Christian art have its own logic and legitimacy, or was it part of a long series of formal adaptations that began in deep antiquity? The most vocal religious critics in Italy were also, very often, the most refined patrons of art. Skepticism about images was redirected back into the art, again and again turning controversy into an aesthetic occasion. Working at the limits of the available media, artists such as Leonardo da Vinci, Fra Bartolommeo, Giorgione, Michelangelo, Raphael, Giulio Romano, Andrea Riccio, Rosso Fiorentino, Titian, Michele Sanmicheli, and Jacopo Sansovino successively dismantled and reconstituted the categories of art-making. Hardly capable of sustaining a program of reform, the experimental art of this period was succeeded by a new era of cultural codification in the second half of the sixteenth century.
The Controversy of Renaissance Art is a major reappraisal of a critical period of art-making from one of our most acclaimed historians of art.
Publisher Summary 2
Many studies have shown that images鈥攖heir presence in the daily lives of the faithful, the means used to control them, and their adaptation to secular uses鈥攚ere at the heart of the Reformation crisis in northern Europe.聽 But the question as it affects the art of Italy has been raised only in highly specialized studies.聽In this book, Alexander Nagel provides the first truly synthetic study of the controversies over religious images that pervaded Italian life both before and parallel to the Reformation north of the Alps. Tracing the intertwined relationship of artistic innovation and archaism, as well as the new pressures placed on the artistic media in the midst of key developments in religious iconography, The Controversy of Renaissance Art offers an important and original history of humanist thought and artistic experimentation from one of our most acclaimed historians of art.聽
目录
Table Of Contents:
Preface ix
Introduction 1(12)
A nontriumphant Renaissance
The Reformation that never happened in Italy
Pre- and post-Trent Range of the study
Part 1 Excavations in Christian Art
1 Effects of Estrangement 13(17)
"These are your idols, which you have put in my temple"
Theater and its double
Art historians and their precursors
The time of the other
Attending effigies
Interior cult and exterior cult
Whores and idols
2 Erasure, Defacement, Unmasking 30(11)
Reform as art restoration
Defamiliarized icons
The "puppet painter" gets a hearing
Erasmus unmasks the saints
3 Excavations of the Image 41(32)
A picture of indeterminate subject and uncertain finish
Threshold painting
Figures in a loose and unready state
Images from the underside
Drawing brought to the surface
Reconfigurations
Christian art that is no longer
Related experiments
4 Re-mediations of the Altarpiece 73(30)
The painter's new profession
Raphael extracts the icon
Vision as re-mediation
Structures of archaism
Christocentrism
Transmutation chamber
Part 2 Christ as Idol
5 Animated Statues 103(26)
Sculpture and the pictorial imaginary
The idol in Saint Augustine's study
Statue + column = idolatry
In the round and from behind
Showdown in the arena of painting
Ficino's ambivalent defense of image magic
The crucifix as anti-statue
6 The Antique Statue of Christ 129(24)
"Christ, who deserved a statue, received instead a cross"
A statue of Christ from the Holy Land
Replication and retroactivation
An antique Christ at the Minerva
Rhetorical interferences
Form as symbol
7 Avatars of the Golden Calf in the Works of Andrea Riccio 153(44)
Gregorio Cortese commissions art at Santa Giustina, 1513*
Moses and polytheism
A Moses-idol
Repetition compulsion
Christ as idol
The work of conversion
Uncompromising logic
Fire takes the form of bronze
Recursions
Religion on earth
Part 3 Soft Iconoclasm.
8 Architecture as Image 197(24)
Forms of iconophobia in Italy
A semiotic contest
Replacement and reversion
Early interventions at Florence and Siena
Figuration and fulfillment, and vice versa
"All the other things are shadows"
9 The Tabernacle in the Matrix 221(40)
"So long as it is not about saints"
Raimondi's I Modi in Giberti's Rome
Pornography as iconoclasm
Nonprocreative art
A new model of church art at Verona cathedral
The Virgin becomes architecture
Borromeo interprets Giberti
10 The Most Abstract Altarpiece of the Italian Renaissance 261(26)
The Vicenza altar and reform circles in northern Italy
Adventures in aniconism
The virtues of stones
The world is an animal
Displacement
Notes 287(58)
Selected Sources 345(8)
Index 353
Preface ix
Introduction 1(12)
A nontriumphant Renaissance
The Reformation that never happened in Italy
Pre- and post-Trent Range of the study
Part 1 Excavations in Christian Art
1 Effects of Estrangement 13(17)
"These are your idols, which you have put in my temple"
Theater and its double
Art historians and their precursors
The time of the other
Attending effigies
Interior cult and exterior cult
Whores and idols
2 Erasure, Defacement, Unmasking 30(11)
Reform as art restoration
Defamiliarized icons
The "puppet painter" gets a hearing
Erasmus unmasks the saints
3 Excavations of the Image 41(32)
A picture of indeterminate subject and uncertain finish
Threshold painting
Figures in a loose and unready state
Images from the underside
Drawing brought to the surface
Reconfigurations
Christian art that is no longer
Related experiments
4 Re-mediations of the Altarpiece 73(30)
The painter's new profession
Raphael extracts the icon
Vision as re-mediation
Structures of archaism
Christocentrism
Transmutation chamber
Part 2 Christ as Idol
5 Animated Statues 103(26)
Sculpture and the pictorial imaginary
The idol in Saint Augustine's study
Statue + column = idolatry
In the round and from behind
Showdown in the arena of painting
Ficino's ambivalent defense of image magic
The crucifix as anti-statue
6 The Antique Statue of Christ 129(24)
"Christ, who deserved a statue, received instead a cross"
A statue of Christ from the Holy Land
Replication and retroactivation
An antique Christ at the Minerva
Rhetorical interferences
Form as symbol
7 Avatars of the Golden Calf in the Works of Andrea Riccio 153(44)
Gregorio Cortese commissions art at Santa Giustina, 1513*
Moses and polytheism
A Moses-idol
Repetition compulsion
Christ as idol
The work of conversion
Uncompromising logic
Fire takes the form of bronze
Recursions
Religion on earth
Part 3 Soft Iconoclasm.
8 Architecture as Image 197(24)
Forms of iconophobia in Italy
A semiotic contest
Replacement and reversion
Early interventions at Florence and Siena
Figuration and fulfillment, and vice versa
"All the other things are shadows"
9 The Tabernacle in the Matrix 221(40)
"So long as it is not about saints"
Raimondi's I Modi in Giberti's Rome
Pornography as iconoclasm
Nonprocreative art
A new model of church art at Verona cathedral
The Virgin becomes architecture
Borromeo interprets Giberti
10 The Most Abstract Altarpiece of the Italian Renaissance 261(26)
The Vicenza altar and reform circles in northern Italy
Adventures in aniconism
The virtues of stones
The world is an animal
Displacement
Notes 287(58)
Selected Sources 345(8)
Index 353
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