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Popularized by the hit television show, the phrase “breaking bad” is defined in urban slang as someone who challenges convention, defies authority, or rejects moral and social norms. Running from 2008 to 2013 on AMC, Breaking Bad featured one of the most unforgettable characters in television history: Walter White, a high school chemistry teacher, husband, and father, who is diagnosed with terminal cancer. For five seasons, fans watched as Walter White tried to secure financial security for his family by using his chemistry skills to manufacture drugs. Throughout the series’ run, Walter White was the epitome of the phrase “breaking bad”, as he broke the law and continually rejected the social mores that he had dutifully followed until his cancer diagnosis. Taking its cue from Walter White, this volume explores the various ways in which artists, patrons, and art historians throughout history have broken bad by defying authority, challenging convention, or rejecting the norm. For example, artists also sometimes break away from tradition by using unconventional iconography, as is the case in Chapter Two, which investigates how Etruscan tomb reliefs show mourning rather than celebration. The book also includes a chapter in which an art historian breaks bad by challenging the conventional interpretation and date of an object, thus eschewing tradition and defying authority. In this case, Chapter Three disputes the largely accepted Hellenistic date and interpretation of the Tazza Farnese, and instead asserts that the cameo must be Roman. Spanning the art of ancient Etruria to the twentieth century, the eight chapters here explore the theme of breaking bad from a variety of time periods and artistic media, from Etruscan mirrors and Roman cameos to Baroque portraits and Italian Pop Art. Scholars approach the topic of breaking bad from a number of perspectives, including examining the artist, patronage, reception, propaganda, iconography, methodology, and use.
This study examines the five extant large Imperial cameos of the Early Roman Empire as a coherent whole, revealing that these gemstones were a referential group with complex interrelationships. Power and Propaganda in the Large Imperial Cameos of the Early Roman Empire offers a feminist theory that explains why large Imperial cameos were in dialogue and why the medium appears with Octavian and disappears by the Flavian dynasty: female Imperial family members commissioned them to advance their husbands and sons. This volume is an introduction to large Imperial cameos and reveals their importance for the understanding of Roman art and iconography and the implications of its theorized Imperial female patronage. The book will be of interest to scholars working in art history, classics, and archaeology.
In Tracing the Visual Language of Raphael’s Circle to 1527, Alexis Culotta examines how the Renaissance master’s style – one infused with borrowed visual quotations from other artists both past and present – proved influential in his relationship with associate Baldassare Peruzzi and in the development of the artists within his thriving workshop. Shedding new light on the important, yet often-overshadowed, figures within this network, this book calls upon key case studies to convincingly illustrate how this visual language and its recombination evolved during Raphael’s Roman career and subsequently served as a springboard for artistic innovation for these close associates as they collaborated in the years following Raphael’s death.
For fans of rich and vivid historical novels like Girl with a Pearl Earring and Code Name Verity, Laura Malone Elliott delivers the stunning tale of real-life Renaissance woman Ginevra de' Benci, the inspiration for one of Leonardo da Vinci's earliest masterpieces. The young and beautiful daughter of a wealthy family, Ginevra longs to share her poetry and participate in the artistic ferment of Renaissance Florence but is trapped in an arranged marriage in a society dictated by men. The arrival of the charismatic Venetian ambassador, Bernardo Bembo, introduces Ginevra to a dazzling circle of patrons, artists, and philosophers. Bembo chooses Ginevra as his Platonic muse and commissions a portrait of her by a young Leonardo da Vinci. Posing for the brilliant painter inspires an intimate connection between them, one Ginevra only begins to understand. In a rich and vivid world of exquisite art with a dangerous underbelly of deadly political feuds, Ginevra faces many challenges to discover her voice and artistic companionship—and to find love.
First published in 1999. The many available scholarly works on Italian-Americans are perhaps of little practical help to the undergraduate or high school student who needs background information when reading contemporary fiction with Italian characters, watching films that require a familiarity with Italian Americans, or looking at works of art that can be fully appreciated only if one understands Italian culture. This basic reference work for non-specialists and students offers quick insights and essential, easy-to-grasp information on Italian-American contributions to American art, music, literature, motion pictures and cultural life. This rich legacy is examined in a collection of original essays that include portrayals of Italian characters in the films of Francis Coppola, Italian American poetry, the art of Frank Stella, the music of Frank Zappa, a survey of Italian folk customs and an analysis of the evolution of Italian-American biography. Comprising 22 lengthy essays written specifically for this volume, the book identifies what is uniquely Italian in American life and examines how Italian customs, traditions, social mores and cultural antecedents have wrought their influence on the American character. Filled with insights, observations and ethnic facts and fictions, this volume should prove to be a valuable source of information for scholars, researchers and students interested in pinpointing and examining the cultural, intellectual and social influence of Italian immigrants and their successors.
No one is more conscious of the faults of this work than the author. Therefore some self -criticism should be woven into this foreward. There are two possible methodologically pure solutions to this book's theme: a de scriptive catalog of the pictures couched in the language of natural science and accom panied by a clinical and psychopathological description of the patients, or a completely metaphysically based investigation of the process of pictorial composition. According to the latter, these unusual works, explained psychologically, and the exceptional circum stances on which they are based would be integrated as a playful variation of human expression into a total picture of the ego under the concept of an inborn creative urge, behind which we would then only have to discover a universal need for expression as an instinctive foundation. In brief, such an investigation would remain in the realm of phenomenologically observed existential forms, completely independent of psychiatry and aesthetics. The compromise between these two pure solutions must necessarily be piecework and must constantly defend itself against the dangers of fragmentation. We are in danger of being satisfied with pure description, the novelistic expansion of details and questions of principle; pitfalls would be very easy to avoid if we had the use of a clearly outlined method. But the problems of a new, or at least never seriously worked, field defy the methodology of every established subject.