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Correggio's depiction of the Virgin's Assumption into heaven, painted in the cupola of the Duomo of Parma, is widely viewed as one of the most inventive and influential fresco cycles of the Renaissance. Even so, the very elements that make the work so powerful--its lively iconography and its illusionism--have long been decried by critics for their apparent illegibility and lack of decorum. In the first book-length study of these frescoes in English, Carolyn Smyth counters such negative criticism by taking into account the viewer's in situ experience of the frescoes. In so doing, she offers a new reading that explores the artist's knowing use of figural perspective, the architectural and liturgical context, and the religious significance of the theme. Aided by new photographs of the fresco, taken by Ralph Lieberman, Smyth leads the reader from the door of the cathedral to the apse, in order to examine the lay worshipper's experience from a series of partial views in the nave and the contrasting vistas of the clergy in the presbytery. As each of these separately revealed sequences of the cycle is discussed, new elements appear and are interpreted. The gestures, figural relationships, activities, and attributes visible from each viewpoint convey specific meanings that reveal, too, the most relevant aspect of the Assumption theme for the participant below. Not only the spatial communicativeness of the painting but also the affective warmth of Correggio's style are seen as means to celebrate Mary's redemptive role and its implications for the Christian audience.
Bringing together works from numerous important collections on both sides of the Atlantic, this catalogue presents a broad survey of Correggio and Parmigianino, with all the drawings illustrated in colour.
Vasari's celebration of the art of the central Italian cities of Florence, Rome and Venice, has long left in shadow the art of northern Italy. The economic and historical decline of the region compounded this effect with the dispersal of the treasures of the Farnese to Naples, the Este to Dresden and the Gonzaga to Madrid and Paris. Each chapter in this volume celebrates a stunning work from the region, among them Correggio's famed Camera di San Paolo in Parma, Parmigianino's Camerino in the Rocca Sanvitale near Parma, the studiolo of Alberto Pio at Carpi, and the Tomb of the Ancestors in the Tempio Malatestiano in Rimini. The volume as a whole offers fascinating insights into the tussle between the maniera moderna and the maniera devota in the first half of the sixteenth century, when the unity between the elegance and beauty of art and its religious significance came under debate. Around the year 1550, when Michelangelo's Last Judgement came under attack for impiety and lasciviousness and the reformists called for an art that would invoke in the viewer a devotional response that identified manifestations of the divine with human feelings and emotions. In northern Italy, it was on the foundation laid by Correggio, with his tenderness and ability to evoke the softness of living flesh, that the Carracci brothers built their reform of painting.
"Explores the history and architecture of two city squares, constructed by rival political parties, in the Italian city of Parma from 1196 to 1300"--Provided by publisher.
The exhibition aims to allow visitors to avail themselves of a selection of masterpieces from some of the world's leading museums to compare and contrast the artistic careers of two of the greatest luminaries of the Italian Renaissance ? Antonio Allegri known as Correggio (1489-1534) and Francesco Mazzola known as Parmigianino (1503-40). The formidable talent of these two artists alone placed the city of Parma in the early 16th century on an equal footing with the peninsula's other great art capitals, Rome, Florence and Venice. 0 0Correggio only travelled to Parma when he was already at the height of his career, in the late 1510s, but he was to remain in the city for the rest of his life. Some twenty of his paintings, covering his entire career, have been selected to underscore the extraordinary emotive force and expressive range that the artist put not only into his religious works but also into his mythological paintings, which were to have such a huge impact on later artists, ranging from the Carracci brothers to Watteau and even to Picasso. 0 0The exhibition 'Correggio e Parmigianino. Arte a Parma nel Ciquecento' ('Correggio and Parmigianino. Art in Parma during the 16th century') hosts such unquestioned masterpieces as the Barrymore Madonna from the National Gallery of Art in Washington, the Portrait of a Lady from the State Hermitage Museum in St. Petersburg, the Martyrdom of Four Saints from the Galleria Nazionale in Parma, the Noli Me Tangere from the Museo del Prado in Madrid, the School of Love from the National Gallery in London and the Danaë from Rome's Galleria Borghese. 00Exhibition: Scuderie del Quirinale, Rome, Italy (12.03.-26.06.2016).
This book interprets a number of Dickens' works through the detailed analysis of a single characterization in each. It is mainly concerned with the textual functions of characters, i.e., with how analyses of Dickens's methods of characterization help us understand what characters do within his texts. The author presents a selective variety of major and minor characters. Included are examples from the three main periods of Dickens's career, from his non-fiction as well as fiction, and from the combination of both that is Sketches by Boz. There is an emphasis on the later books and particularly on Our Mutual Friend. Contents: IntroductionóSome Sketches by Boz; Modifying SummariesóThe Fat Boy in The Pickwick Papers; Young Bailey in Martin Chuzzlewit; Gaffer Hexam in Our Mutual Friend; NarratorsóSome Epistolary Personae; The Troubled Traveler in Pictures From Italy; The Sentimental Paternalist in A Christmas Carol; Extending the Interface: The Third Narrator in Bleak House; The Middle-aged Businessman: The Narrator of Great Expectations; Sexism and Class Bias: The Narrator of Our Mutual Friend; Two Re-readersóKnowing What Happens in Our Mutual Friend; Droodiana and The Mystery of Edwin Drood; Characterisation and Ideas in Little Dorrit: Clennam and Calvinism; Characterisation and Structure: John Harmon in Our Mutual Friend; Story and Text.
The Court Cities of Northern Italy examines painting, sculpture, decorative arts, and architecture produced within the fourteenth, fifteenth, and sixteenth centuries.
Reproduction of the original: Corregio by Estelle M. Hurll