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Often overshadowed by the cities of Florence and Rome inart-historical literature, this volume argues for the importance ofNaples as an artistic and cultural centre, demonstrating thebreadth and wealth of artistic experience within the city. Generously illustrated with some illustrations specificallycommissioned for this book Questions the traditional definitions of 'cultural centres'which have led to the neglect of Naples as a centre of artisticimportance A significant addition to the English-language scholarship onart in Naples
Caravaggio was one of the most important Italian painters of the 17th century. He was, in fact, the wellspring of Baroque painting. In Hibbard's words, Caravaggio's paintings "speak to us more personally and more poignantly than any others of the time". In this study, Howard Hibbard evaluates the work of Caravaggio: notorious as a painter-assassin, hailed by many as an original interpreter of the scriptures, a man whose exploration of nature has been likened to that of Galileo.
M is the name of an enigma. In his short and violent life, Michaelangelo Merisi, from Caravaggio, changed art for ever. In the process he laid bare his own sexual longing and the brutal realities of his life with shocking frankness. Like no painter before him and few since, M the man appears in his art. As a book about art and life and how they connect, there has never been anything quite like it.
The Baroque period was in some senses the beginning of modern Western scientific and intellectual culture-the early budding of the Enlightenment. In the light of a new scientific and historical consciousness, it saw the rise of deism and the critique of traditional forms of Christianity. Secular values and institutions were openly or surreptitiously replacing the structures of traditional Christian society. At the same time, there was also a trend of religious renewal and the reaffirmation of tradition. In Roman Catholicism, the Patristic, medieval, and Tridentine paradigms were subsumed into a powerful Counter-Reformation spirituality, propagated not only in books, treatises, and sermons, but also in music and in the works of what was arguably the last period of great sacred art. It inspired masters like Bernini, Reni, Rubens, Velázquez, Zurbarán, and Van Dyck. In the Protestant traditions, the Reformation movement found affective expression in new forms of music produced by Monteverdi, Scarlatti, Handel, Telemann, and Bach. The title, The Pathos of the Cross, points to a major aspect of the spirituality of this period: a dramatic portrayal of the events of Christ's passion meant to provoke an emotional response from the viewer and listener. Many works of the period retain their emotional pull centuries later, even though the theology they represent has been challenged and frequently rejected. This volume traces the ways in which Roman Catholic and Protestant theologies of the period proclaimed the centrality of the cross of Christ to human salvation. In a parallel movement, it illustrates how musical and artistic works of the period were both inspired and informed by these theologies, and how they moved beyond them in an aesthetic mediation of faith.
This book treats Rome, the arts and religious culture in Italy in the century or so after the Council of Trent. In that era, clerical bureaucrats may have sought to impose control and uniformity, but nine original essays in this volume demonstrate continuing vitality of a wide range of creative artistic production. The book is illustrated with more than 50 reproductions. Part I and II explore themes of Italian Artists as Saints and Sinners, and Arts of Sanctity, Suffering, and Sensuality in Italy. Part III, Italy and Beyond: Rome and Global Catholic Culture, acknowledges world-wide dimensions of early modern Catholicism. From Rome to Eternity elucidates the rich and multifaceted character of Catholicism in Italy, ca. 1550-1650. Papal Rome spoke, but even as Italian Catholics listened, they themselves also spoke, and wrote, sang, acted, painted. Contributors include: Michael A. Zampelli, Gauvin Alexander Bailey, Fiora A. Bassanese, Peter Burke, James Clifton, Sheldon Grossman, Pamela Jones, Robert L. Kendrick, David M. Stone, and Thomas Worcester.
Through a visually oriented investigation of historical (in)visibility in early modern Italy, the essays in this volume recover those women - wives, widows, mistresses, the illegitimate - who have been erased from history in modern literature, rendered invisible or obscured by history or scholarship, as well as those who were overshadowed by male relatives, political accident, or spatial location. A multi-faceted invisibility of the individual and of the object is the thread that unites the chapters in this volume. Though some women chose to be invisible, for example the cloistered nun, these essays show that in fact, their voices are heard or seen through their commissions and their patronage of the arts, which afforded them some visibility. Invisibility is also examined in terms of commissions which are no longer extant or are inaccessible. What is revealed throughout the essays is a new way of looking at works of art, a new way to visualize the past by addressing representational invisibility, the marginalized or absent subject or object and historical (in)visibility to discover who does the 'looking,' and how this shapes how something or someone is visible or invisible. The result is a more nuanced understanding of the place of women and gender in early modern Italy.